Copper

Welcome to Copper #35!

Lately, I've been blathering a lot about aging, even right here in this space last issue. I'm afraid that Dan Schwartz's piece in this issue about Harry Pearson has further fueled that whole looking back/looking inward thing. Shall we call it "retro-introspection"?  Sounds awkward enough and pretentious enough to be the title of a NYT bestseller.

But let's look at the here and now---or even the hear and now. Let's extract ossicles from assicles (!) and move forward.

Our columnists this issue cover such a wide range of topics and music, that I can't help but smile. Typing the names of some of these artists is challenging enough----please don't ask me to pronounce them!

Larry Schenbeck leads off the issue with a survey of  the works of 20th-century (and 21st!) minimalist composer György Kurtág (!); Dan's previously-mentioned piece on Harry Pearson is next; Richard Murison offers some fascinating perspective on Moore's Law; Jay Jay French continues his story about THAT CUSTOMER on Lawn Guyland; Duncan Taylor introduces us to versatile musician Seth Glier; Anne E. Johnson looks at the work of unique/unspellable/unpronounceable Icelandic artist Jófríður Ákadóttir (!!), who is mercifully also known as JFDR; Woody Woodward takes an affectionate and retro-intospective (!!!) look at Southern rock and the late Gregg Allman; Anne is back again with reviews of a number of lute recordings; and Industry News looks at changes at Bang & Olufsen. I write about what we do to save audio (no pressure there!), and continue our historical look at horn loudspeakers.

Our friend B. Jan Montana tells us what he saw and heard at the LA Audio Show, and Jim Smith looks at the most important component in your audio system---and no, it's not your wallet!

We wrap with a beautiful Parting Shot from Paul McGowan.

I hope you'll enjoy this issue. Until next time!

Cheers, Leebs.

Welcome to the 34th issue of Copper! As I approach yet another birthday, I'm struck by the changes that come with age. Some have come with maturity (I think); others are clearly just signs of wear and tear. For example: in my younger days, I would agonize over any bit of criticism I received, especially if that criticism was of something I'd written. At this point, I'm pragmatic enough to know that I do the best I can, given the constraints of time and my own ability. Pretty much anything can be improved, given additional time, attention and tweaking...but just as in manufacturing, there comes a point at which a line must be drawn, changes cease, and (as our friend Seth Godin says) you have to ship it. For me, the ability to let go of something, anything---an essay, a relationship, or even a grudge---has been one of the hardest things to learn in life. I'd like to ascribe that ability to let go to maturity, not indifference. Wear and tear? A few years ago, I drove from Boston to Sarasota, non-stop. A day later I flew to Denmark for a week-long consulting gig, then flew home to Florida. I was okay within two days. My recent trip to Munich left me exhausted and foggy for a week. The difference a few years have made in my ability to recover from travel-abuse has been eye-opening, and more than a little frightening. The stories in this issue's Industry News seem to me to demonstrate aging without gaining wisdom. Sears and Radio Shack were among America's leading retailers for many decades---and then didn't respond to changing times. Can a business become senile? I think so. The rest of our columns are more upbeat: Professor Schenbeck looks at an element of music that we oh-so-serious musicophiles and audiophiles often overlook: is it FUN? Beatles acolyte Dan Schwartz offers his own unique take on the importance of Sgt. Pepper on its 50th anniversary; Richard Murison takes a side-trip into the bewildering world of patents; Duncan Taylor introduces us to still more amazing musicians; Anne E. Johnson introduces another unique indie artist, Andy Suzuki; Dan McCauley provides this issue's album review, the newbie from The Mountain Goats. I grumble about sleeplessness and music, and continue my look at horn speakers. Our friend Jim Smith discusses that audiophile ideal, the dedicated listening room. As promised in the last issue, I review my experiences at the Munich show---including the joy of the biergarten! The bottom half of our audio show doubleheader has Dan Schwartz doing a quick lap of the new LA Audio Show. Visit on Friday, write on Saturday, publish on Monday---how about that? We wrap up #34 with a chilly Parting Shot. Our friends Woody Woodward and Jay Jay French will be back soon, and we once again remind our readers that we welcome contributions for In My Room, our feature on reader's listening rooms. You could be next! Until next issue---enjoy! Cheers, Leebs.

As you read this, I'll have just returned from the  Munich  High End show, the largest audio show in the world. Or at least the Western world, if we must split hairs.

To my shame, I've never been to the Munich show before. While I'm looking forward to it, I have a bit of angst regarding my very rusty high school Deutsch, no matter how many times folks assure me that it won't be a problem. Oddly, I can still recall several of the dialogues I had to memorize for Frau Shelton, 45 years ago---but I don't really anticipate having too many discussions about how high the grass is!

I'm reminded of the old joke, first told to me by a Dane who speaks six or seven languages:
-What do you call someone who speaks three languages?   ---Trilingual. -What do you call someone who speaks two languages?  ---Bilingual. -What do you call someone who speaks ONE language?  ---AMERICAN.

Hilarious, no? (Okay, no.) I believe my testy response was, "if our country was as TINY as yours, we'd have to speak six or seven languages, also." Oh, well.

At any rate: I hope to have a feature about the Munich show in the next issue---possibly the next two, if there's enough of interest to show you. I certainly won't bore you with the same old tired stuff you've already seen ten times.

Meanwhile, I think we have another strong issue. Professor Schenbeck leads off with his look at classical concept albums, Dan Schwartz writes about Bernie Leadon and the Flying Burrito Brothers ; Richard Murison examines the thorny issue of sample rate conversion; Jay Jay French tells a tale of a high-end system delivered in Long Island; Duncan Taylor goes down the long list of talented folks he's recorded; Anne E. Johnson introduces us to Pura Fe'---and I urge you to listen to this artist, who sounds like Bonnie Raitt one minute, Steely Dan the next;  our record reviews were both new, last issue---Anne is back with the Something Old part; Industry News tells about texting music (?) and the latest chapter in big retail; and I write about  music education (or lack of it), and the next segment of  the horn speakers saga.

As promised last issue, John Seetoo is back with a terrific interview with Chad Kassem, possibly the busiest guy in audio. We're happy to have our old friend Ken Kessler back as well, with another look at Neglected Artists. Think of this installment as the Lost Chapter....

We wrap up with an amazingly detailed In My Room from our pal B. Jan Montana, and another lovely Parting Shot. Our friends Woody Woodward and Jim Smith will be back soon.

Until next time: Später!

Cheers, Leebs.