Copper

First of all, I want to give a huge thank you to our writers, Paul McGowan, Bill Leebens and a special acknowledgment to the wonderful Maggie McFalls for helping me get through the job of actually producing our first issue together. Whew!

Big news: at a November 8 press conference at the New York Audio Show, hi-res streaming service Qobuz announced it was eliminating its MP3 streaming tier and going to a lower $14.99 per month pricing plan that includes access to all hi-res and CD-quality streaming. The new Studio Premier plan is available to the first 100,000 subscribers and is $12.50 per month with a yearly plan. Qobuz’ Dan Mackta noted the service is adding 10,000 albums per day. The announcement follows on the heels of Amazon’s reveal of its own $14.99 plan ($12.99 for Prime members). More affordable hi-res streaming can only be a good thing, especially in bringing the pleasures of better-sounding music to more people.

Among this issue’s contents: Tom Gibbs looks at re-issues from the Stooges, the Stones, Miles and more. Woody Woodward tells a tale of haunted roads and the inimitable Bonzo Dog Band. Professor Larry Schenbeck offers insight into Russian composers Rachmaninov, Medtner and Prokofiev. Anne E. Johnson gives us an unflinching look at the Pogues and the work of Hildegard of Bingen, one of the most important composers of medieval sacred music.

J.I. Agnew provides an overview of the history of magnetic recording. Roy Hall has us salivating over culinary delights in Puerto Rico (well, maybe not if you’re a vegan). I contribute some thoughts on the recent Capital Audiofest 2019. Dan Schwartz tells a tale that may be familiar to more than a few of us, about having a great-sounding system...and then changing it.

Frank

I’m thrilled and honored to be named the new editor of Copper.

Many of you may know me from my decades in the audio industry as a writer, editor, PR person and audio enthusiast, with the emphasis on enthusiast. For those who don’t know me yet: my first industry gig was in 1984 as pop music writer for The Absolute Sound, later serving in various editorial capacities and as founder Harry Pearson’s setup man, friend and foil. Talk about trial by fire! I was the Silver Surfer to HP’s Galactus.

I’ve written for The Tracking Angle (now Analog Planet), Home Theater, Cineluxe and Sound & Vision among others. I handle public relations for consumer and pro audio companies. (Let’s get this out of the way: I am careful to avoid even potential conflicts of interest.)

I’ve been passionate about music and audio since hearing my parents’ tube radio sitting on the kitchen counter of our Brooklyn apartment, playing the AM hits of the late 1950s. I was riveted by the music and the sound. How did the music come out of that little box? How was it made? Who was making it? What are those sounds? Like a baby duck, I was imprinted. Such things still fascinate me.

Paul McGowan, head honcho of PS Audio and the rest of the Copper staff share this kind of enthusiasm and I am really stoked to be joining them.

When I was a teenager a friend’s father had the first hi-fi I had ever seen – Marantz electronics, big Rectilinear III speakers and a turntable I can’t remember. The dad saw me gaping at all of it and asked, “would you like to hear it?” “Yes!” “On one condition. Sit in that chair and I will play you 15 minutes of music and you won’t say a word, just listen.”

I was stunned. I had never heard music sound so vivid, and realistic. I had no idea a stereo could sound like that. The fire was later fueled in high school by my friend the late, great Bob Reina of TAS and Stereophile, who introduced me to high-end audio (along with a lot of great music). His Dahlquist DQ-10s were a revelation. These moments changed my life – and I haven’t told you yet about the first time I heard the Infinity IRS V loudspeakers at HP’s...

A little more background: I’m not dogmatic. I believe observational listening and measurements are both valid. I enjoy vinyl, hi-res digital, streaming audio, small two-way monitors, big floorstanders, whatever gets you through the night. There’s merit in both modest and monolithic audio systems. I like playing guitar, going to concerts, science fiction, pugs, garage sales, good deals on shoes, well-crafted objects and many other things.

I like all kinds of music but there’s a special place in my heart for Blue Öyster Cult. (Another story for another time.)

Audio and music are an art, a science, a commercial endeavor, a manifestation of dreams, a means of self-expression and so much more. Copper reflects all of that, and we intend to further our explorations.

I look forward to joining in the fun and sharing in the passion of our writers and the enthusiasm of our readers. Onward!

Welcome to Copper #96!

One thousand, three hundred and twenty-three days ago, the first issue of Copper came out. What you're now reading is, as stated, the ninety-sixth issue. That means that a new issue of Copper has appeared every 13.78 days, since the beginning.

Astonishingly enough, that is precisely on schedule. Regulars know that Copper appears (as if by magic!!) every other Monday. Depending on which confusing and contradictory definition you choose, that makes the mag biweekly. Or bimonthly. Maybe both.

Here's the reason for this drawn-out pedantry: I cannot think of another single thing in my life where I've managed to stick to a schedule, and deliver according to expectations, day after day, month after month...and year after year. For that reason alone, Copper is, to me, a miracle.

Way back in the early spring of 2016, Paul McGowan came to me wearing the mischievous grin that I know means trouble. What he said, guaranteed trouble:

"I want to do a magazine."

After a few deep breaths, I began a panicked-but-reasoned analysis of why an actual old-school paper magazine was a fool's errand. He quickly clarified that it was to be an online mag, and I breathed a little easier.

Until he told me it needed to be a weekly.

As the structure came together, the weekly thing fell by the wayside; it was clear that every two weeks would be challenging enough, both for the staff, and for the readers. That was a relief, but the challenges remained.

Our friend Seth Godin named the mag and wrote a column. We created a wish-list of potential writers, and not only did many join us, I'm grateful beyond words that several are still with us, after all this time.

Three of our regular columnists have been with the mag since the first issue. In the order in which they appear in the mag: Larry Schenbeck, Dan Schwartz, and Richard Murison have each contributed thousands of words and shared their expertise and their own peculiar perspectives--and I use "peculiar" in the sense of unusual, or special. I've learned a great deal from them in terms of musical and technical knowledge, and I've also learned from their unfailing professionalism and grace. I'm not sure how I can ever express my gratitude for their hard work and their gracious support. Thank you, guys.

Woody Woodward has been with us almost as long, starting with #2. We may disagree about stylistic issues, but never about music---he's shown that he has impeccable taste in tunes, and has his own unique take on them. Thanks so much, Woody.

We've had several writers come and go: a column every two weeks can be pretty demanding. Duncan Taylor was with us in the first issue, and his tales of live recordings appeared through #51. Other notable frequent flyers were Jim Smith, Ken Kessler, wine guy Tom Methans, and PS Audio's own Dan McCauley. The inimitable Christian James Hand was with us for twenty issues, and is still out there on the LA radio, and doing live presentations.

Anne E. Johnson has shared her musical knowledge with us since issue #30, often twice an issue, and I don't know anyone with her depth of knowledge across all areas of music. I dogged Roy Hall for years to tell his tales, and for years he said he didn't have enough stories to share. Sixty issues on, he's still telling his tales. Jay Jay French has been with us since #43, and I expect him to return soon.

J.I. Agnew and Tom Gibbs are our most-recent arrivals, starting in issues 90 and 91, respectively---and I hope they'll be lending their insights to Copper for years to come. Many others deserve to be mentioned---especially Gautam Raja, B. Jan Montana, and Rudy Radelic. Thanks to them, and to all who contributed through the years.

Given all that--- it saddens me to tell you that this will be my last issue.

It's hard to write that, and even more difficult for me to grasp. Copper has been both my focus and my motivation for years now--- and it's tough to leave. The magazine will continue in the very capable hands of Maggie McFalls, who has worked with me as Associate Editor for over a year now. She has an unerring eye for awkward phrases or run-on sentences (especially mine), and everyone in the Copper crew has worked with her.

As I've mentioned in the past, Leebens' Law of Life #1 is: Things Change. And so they do.

Back to the present issue: Professor Larry Schenbeck looks at the life and work of Maurice Durufle'; Dan Schwartz remembers how a jam and an obscure poem sold eleven million records (and counting); Richard Murison surveys recordings of the Shostakovich 4th Symphony; Roy Hall writes about his son, Ilan, a now-famous chef; Anne E. Johnson’s Off the Charts looks at the incredible Isley Brothers; J.I. Agnew looks at format wars; Bob Wood moves on to another station; Woody Woodward continues his look at the career and music of Jeff Beck; Anne’s Something Old/Something New looks at recent recordings of Bach Cello Suites; Tom Gibbs reviews two brand-new records, one old re-heard record, and one old never-heard record; and I say goodbye to The Audio Cynic, and wrap up Vintage Whine with a look at some truly oddball turntables.

The Copper Interview has John Seetoo chatting with producer Tony Visconti.

Copper #96 wraps up with Charles Rodrigues on Husband Acceptance Factor, and a maybe-melancholy Parting Sot from...me.

Ordinarily, I'd close by saying "until next time", or something similar. Well---this is it. Thanks for reading, and for writing us. Copper will still be here, so keep reading and writing.

As for me---so long, and thanks for all the fish.

Leebs.

Welcome to Copper #95!

This is being written on October 4th---or 10/4, in US notation. That made me recall one of my former lives, many years and many pounds ago: I was a UPS driver. One thing I learned from the over-the-road drivers was that the popular version of CB-speak, "10-4, good buddy" was not generally used by drivers, as it meant something other than just, "hi, my friend". The proper and socially-acceptable term was "10-4, good neighbor."

See? You never know what you'll learn here.

In #95, Professor Larry Schenbeck takes a look at the mysteries of timbre---and no, that's not pronounced like a lumberjack's call; Dan Schwartz returns to a serious subject --unfortunately; Richard Murison goes on a sea voyage; Roy Hall pays a bittersweet visit to Cuba; Anne E. Johnson’s Off the Charts looks at the long and mostly-wonderful career of Leon Russell; J.I. Agnew explains how machine screws brought us sound recording; Bob Wood continues wit his True-Life Radio Tales; Woody Woodward continues his series on Jeff Beck; Anne’s Trading Eights brings us classic cuts from Miles Davis; Tom Gibbs is back to batting .800 in his record reviews; and I get to the bottom of things in The Audio Cynic, and examine direct some off-the-wall turntables in Vintage Whine.

Copper #95 wraps up with Charles Rodrigues on extreme room treatment, and a lovely Parting Shot from my globe-trotting son, Will Leebens.

Until next time,

Leebs.