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Monday, May 30, 2022

Drooling 🎶




Flock is a brand new collaboration between five leading musicians from London's open-minded jazz and experimental scenes: Bex Burch (Vula Viel), Sarathy Korwar, Dan “Danalogue” Leavers (Soccer96, The Comet Is Coming), Al MacSween (Maisha) and Tamar Osborn (Collocutor). 

Gathering together at The Fish Factory in London Summer 2020, the approach was to try something fresh. “I wrote texts as scores for the session and the emphasis was on breathing and listening to each other,” explains Bex Burch. “Improvisation is composition in itself,” continues Burch, “so although the music was freely improvised, we sometimes chose to stay on form and rhythm, repeating melodies and groove. As Dan commented on the day, we ‘murmurated’. The expansive 13-minute piece ‘How Many Are One’ on the album is the perfect example, a collective following and leading as the music developed.” 

Other tracks include the pulsing, searching opener ‘Expand’, the taught soundscape ‘Prepare To Let Go’ and the frenetic, urgent ‘Bold Dream’. At times widescreen and cinematic and at others more tense and claustrophobic, each Flock piece explores its own colors...


released May 20, 2022 

All pieces improvised by Bex Burch, Sarathy Korwar, Danalogue, Al MacSween and Tamar Osborn in response to texts by Bex Burch 

Published by K7 Music Publishing, Metropolis, Bucks Music Group and BMG Music Publishing 

Bex Burch: gyil, vibraphone, bass drum, shakers, bells, gong, snake drum, electronics 
Sarathy Korwar: drums, tabla 
Danalogue: fender rhodes, roland juno-60, upright piano, roland SH-09 bass synth 
Al MacSween: prepared piano, piano, moog sub37 
Tamar Osborn: bass clarinet, flute, soprano sax, EHX deluxe memory boy 

Recorded on 27 August 2020 at The Fish Factory, London 

Produced by Bex Burch 

Recording engineer: Mattia Sartori 
Recording assistant: Simone Gallizio 
Mixed by Bex Burch and Alex Bonney 

Executive producers: Tamar Osborn, Danalogue, Al MacSween, Sarathy Korwar, Quinton Scott 

Mastered for vinyl by Peter Beckmann at Technology Works 
LP cut by Frank Merritt at The Carvery 

Artwork is based on an exclusive new illustration piece by Muhammad “Rofi” Fatchurofi.


Sunday, May 22, 2022

ReVox A77


If it’s/was good for Robert Fripp, Chris Squire and Vangelis… it’s good for me 😊

R.I.P. for Vangelis

My Munchen Hi-End Audio Fair 2022


Fortunately or unfortunately, I missed the event… well: to be 100% sincere… I missed meeting my old friends 💎 more than gears! 


Sir Martin Carthy


Can a picture teach you so much?

When I first saw this picture of young Martin Carthy on back cover of his seminal, early ‘70s Shearwater LP, I was attracted by the plethora of then sought after, nice Neumann U87s’ with swivel-mounts, cleverly placed in pair on Martin 00018 and with windshield on vocal.

When I became able to afford these microphones, I sure remembered this picture because I was able to EXACTLY replicate this mikes-combo and placement with fantastic results.

So: yes! A picture may teach a lot!

Saturday, May 21, 2022

John Scofield at Teatro Olimpico


An honest, old guitar craftsman…

… sure not an innovator with his very own unique “voice” like Bill Frisell, John Abercrombie, Terje Rypdal… his sound is more in Wes Montgomery’s school (lacking his wizardry) and when he adventures in some basic pedal looping, the results are quite “primitive”, so far away from Bill Frisell’s masterful foot-tapping.

Beside above criticism, the one hour and a half concert was enjoyable and educative: a good musician accompanied by average stage-partners may sound below par.

Give peas a chance ☮️


All we need is love ❤️ … peas and love ✅

Italian Super Disc 🥇


Fantastic recording, cover artwork and playing 🥇

Monday, May 16, 2022

Bill Frisell Trio at Teatro Olimpico


What a concert! 

The first at the beloved, ancient, unique wooden theater in 2+ years, so much more waited for and enjoyed.

Bill Frisell’s playing is so tasteful, measured and unique… with his musicianship and light touch foot-tapping his trusty Line6 DL4 and ElectroHarmonix Freeze effect-boxes, he reached pure bliss.

From Vicenza Jazz Festival Artistic Director, Riccardo Brazzale‘s words:

“ When tonight, shortly after 9 P.M., Bill Frisell attacked "Days of Wine and Roses", more than one, with a hint of hesitation, asked himself: "What does the teacher do, does he play the standards?".  Frisell has always loved the days of wine and roses, from a young age, and now that he's in his seventies (yes, seventy, even if he shows up on stage wearing a striped shirt) he likes to start concerts with those days.  It is with those who also tonight entered a special mood, together with Tony Scherr on double bass and Kenny Wollesen on drums, a mood that he himself and his traveling companions experienced as unique in the magic of the Olimpico.  The right sound, the right volume, absolutely never over the top, the right interplay.  After Henry Mancini's wine and roses came Monk's "Mysterious", then many songs by him, including the beautiful "Waltz for Hal Willner", up to the finale with "What the World Needs Now" by Burt Bacharach.  Outside, leaning against the door of the theater, which remained open to let some air pass, there was a boy with a guitar over his shoulder who listened to music from afar: "I would love to be inside, but so much ... ".  The theater was full but after Bacharach someone was gone and so I said to a mask: "Better call him, if he's still there, let us give him a nice present."  "Come on - I told him - we'll get an encore".  And he was already starting "We Shall Overcome".  The boy with the guitar slung over his shoulder was very excited, his keys fell out, his mask creased.  He no longer understood anything.  Then up, come on, come up, in the peristyle on the right.  Crouched behind the columns, with the guitar over his shoulder, he saw and heard "We Shall Overcome" at the Olimpico, made by Bill Frisell.  Unexpected, the best gift, he didn't know how to thank me.  I was happy to have made him happy, after all with so little.  "We Shall Overcome", we will make it, we will overcome every obstacle, if the music is always with us and we get excited and we want to share the emotions.”

Well: music is healing and I’m glad the encore was enjoyed by this unknown youngster, indeed.

A superb concert, poetic and sweet: has been a privilege being there… kindness will save the world.

Monday, May 9, 2022

Capt. Beefheart’s wisdom


'Captain Beefheart's Ten Commandments For Guitarists'. Art by Eliott Le Calvé "ElioHoHo".

Thursday, May 5, 2022

Wednesday, May 4, 2022

Wendy Carlos on cassette




… four deads in Ohio…


… as per Neil Young’s seminal song… thanking late Nixon’s tin soldiers…

It’s just amazing giving names and faces to the “four deads” after 50+ years.


Monday, May 2, 2022

Thanks to Terry Riley


Terry Riley recently issued disk, recorded in Bologna, Italy

P.S. - the “Stefano” in title is awesome late double-bass player Stefano Scodanibbio who collaborated with Mr. Riley on several occasions.


My kinda room


Sunday, May 1, 2022

Studer Plus+

From What’s Best Forum - 


Hello folks. Here’s the story so far on our Studer A80 Repro Card exploits. Firstly, I’d like to thank Bruce B for starting this thread and hosting the first listening session.

Next, I want to introduce Jeff Polan, my partner in this effort. I met Jeff thru my Stellavox repair work. He had a deck that needed fixing, which led to extended conversations on tape electronics in general and improving their electronics in particular. Jeff is an electronics design engineer/manufacturer with a career in telecommunications and audio design (he also has 10 US patents in wireless and high-speed data acquisition). A long-time audiophile, this has “extended” into his home audio system, which he’s designed and built most of. The fact that he redesigned the audio electronics in his Stellavox AND his Studer A80 rekindled a thought I had about an upgrade product for that machine -a “plug’n play” repro card. One thing led to another and we began a collaborative effort, Jeff doing the design work and me laying out the PC board. This resulted in the set of prototype cards that I brought to Bruce’s and were we able to listen for the first time.

Why embark upon this effort in the first place? Both Jeff and I realized that the Studer audio electronics have “sonic deficiencies” that can be ameliorated by the use of modern design techniques and parts. My own “outboard” preamp work with many different tape machines had more than proven this and Jeff obtained similar improvements with his own A80. Let me hasten to add that we consider this project as a homage to the A80. The mechanics and tape handling capability of the A80 are first rate. FM sidebands (observed as wow and flutter) are among the lowest of any machine ever made. Plus there are a lot of them still around, so starting with a machine of this high caliber seemed like a good idea. And finally, developments in modern tape characteristics, semiconductors, and purist audiophile analog design meant the time was certainly right for an update of the 40-year old record and repro electronics.

Right from the beginning, making a new Repro card with an identical “fit, form and function”,(“plug’n play”; no rewiring required) was a principal design objective. The original, stock repro card amplified the playback head’s output, equalized the recorded signal back to flat response (coupled to the selected tape speed) and produced a single transformer-coupled balanced, 600 ohm, line-level output signal. Our design objectives were to include NAB; CCIR, AES, and a 4th customizable (nominally 10uS) EQ (selected from the front panel), adjustable bias trap, transformerless output and finally crosstalk compensation.

Our circuit concept mirrors that of Studer’s. The signal from the repro head enters a low-noise preamplifier; bias trap; then equalizer section, followed by a Balanced 600 ohm output stage. In our design, the low-noise pre-amplifier and equalizer sections are fully-discrete semiconductor, class A, direct coupled (no capacitors in the signal path) with a separate, Unbalanced Output available from an RCA jack on the front panel (a production update changed this connector - read on). The 600 ohm balanced output, is supplied from a high quality Integrated circuit balanced line driver that connects to the meter bridge and from there to the stock XLR line outputs. This is what we listened to at Bruce’s.

A limiting factor in the original Studer A80 with meter bridge came from the unbuffered VU meters which added distortion; along with the added cabling; switching and potentiometers in in the meter bridge. So, in order to allow the use of a meter bridge while not influencing the “sound” of the repro card, the final design incorporates a SECOND transformerless output line driver, whose balanced signal is available from a new 4-pin Neutrik connector on the front panel. This connector also includes the above-mentioned provision to “tap” the unbalanced signal from the amplifier/equalizer that proceeds the line driver . So you have your choice of minimalist/purist direct single-ended output, or very clean transformerless outputs!

Get ready for the specs - go Jeff! Discrete DC-coupled Class A amplifier design, carefull gain partitioning, attention to open loop linearity, and judicious application of local and overall feedback results in exceptionally low noise: -86dB A-wtd corresponding to 350nW/m , better than 10 dB -A-wtd noise margin below unrecorded virgin blank tape at NAB, 12dB at CCIR, 14 dB at AES, 15 db at 10uS. Exceptionally low THD and IMD combined with outstanding headroom (better than -80dB THD under all operating conditions thru +19 dB above 350nW/m at the single ended or balanced outputs; Ch-Ch crosstalk is -70 dB typical (Butterfly heads) with the Crosstalk canceller. Highly accurate repro EQ perfromance: +/- 0.5 dB 32 Hz - 20Khz typical at 15ips according to MRL fringing corrected Calibration tape; typically less than -3 dB at 25 Khz (Record/Repro). Whew! The board has High and Low speed Gain, Treble, Bass, and crosstalk user-adjustments . A highly effective Record Bias Trap is included, as is the automatic Studer HS/LS switching, and a power-on/off mute circuit. Full specifications for the production unit are in process, but of course the proof is in the listening which we continue to do.

Right now, the first group of 20 production PC boards are being fabricated. We have been scrambling to assemble enough parts to populate them and in so doing, have run smack into “the COVID wall” - parts discontinued; deliveries unknown and continuing price escalations up to 5-10X. This situation has also exacerbated elimination of the old(obsolete?) method of assembling the boards - from “through hole” parts, inserted and soldered into “holes” in the PC board, to surface mount devices (SMD) which are positions and soldered robotically. This type of SMD construction is cost prohibitive for small volumes. We don’t yet have a per-pair- price, and don’t know how many we could make – especially if the project should prove popular. We do hope to have the first production board available by the end of the year - Bruce B will get the first set for evaluation. We’ll also have a price for the first 10 pairs at that time.

From Bruce’s first posting, a few questions have arisen. Like will this card sound as good as an outboard preamp. That answer is an emphatic - “could very well be”! From a measurement and listening perspective, the card sounds VERY good. Jeff has tried the card on a few machines – both with Studer and Flux Magnetics heads. I don’t have an A80 but am finishing an adapter box to hold a pair of cards plus a power supply - and will be comparing it to my pre plus others.

This project has also spurned a few other “concepts”. The first is repackaging the design to fit in the Studer A8XX recorders, which (I feel) are more in need of repro “help” then the A80. Looking into this, the basic problem is twofold. First, the later A8XX’s used a separate fixed gain preamp built into the headblock. Next is the relatively small footprint of the separate repro card. Jeff is also fixated with the idea of a corresponding, improved RECORD CARD for the A80. He has some novel ideas that he’s “bread-boarded” into his own 80, including a group delay equalizer for correct time domain response, and 2-stage linearizer to compensate for tape and head magnetic saturation characteristics. He believes that a dynamic range/signal to noise ratio - of around 80dB (15ips/500nw/m ref) is doable on 1/4" tape at less than 3% THD . All of this will have to wait to see how this first venture unfolds. Oh and Mike L. – I’m keeping in mind your Zeel 50 ohm preamp input requirements


Thanks to Charles for above interesting post and to What’s Best Forum for… too much to quote 🥇

Listz and Mrs. Senkrah


Anna Loretta Arkness (Arma Senkrah) was 21 years old, and Franz Liszt 75, when they played in duo the Beethoven's Kreutzer Sonata for an chosen audience at Liszt's house, on July 20, 1885. She played her 1750 Giovanni Battista Guadagnini, explendide violin, that after belonged to Isaac Stern.

Thanking Saulo Zucchello 🥇

The making of Goodmans Axiom 80


I owned two pairs of these amazing speakers and also if I don’t actually use the last pair I kept, I consider them as good as the other Ted Jordan’s masterpieces - i.e. the square shaped magnet, aluminum diaphragm Jordan-Watts’ speakers… as I always say: if the latter were good for beloved, late Be Yamamura, they’re good for me 😏… actually, the single speakers crossover-less I love more!

… but let’s share this archeological sampler about Axiom 80: