Christian Wolff and Gerard Rejskind interviews [Listen 33:45] – S02 Ep06 Drinking Orange Juice with Christian Wolff
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WolffS02 Ep06 (1 of 2) - Drinking Orange Juice with Christian Wolff
Interview Date: January 9, 2012 @10am EDT
Special guest (Audio) (part 1 of 2) – Christian Wolff is one of the most respected and revered modern composers of our time. Starting out composing with a group of extraordinary artists and composers (what became to be known as the New York School Movement) consisting of Morton Feldman, Earl Brown, David Tudor, (choreographer) Merce Cunningham, and John Cage. It was Wolff who changed John Cage's musical direction forever by giving him the 'I Ching'; in addition, he worked with other leading 20th Century Composers like Frederic Rzewksi and Cornelius Cardew. He has gone on to compose well over 200 compositions, dating back to the early 1950's. His compositions are often improvisational, complex, and sometimes political in nature and intent.
Special guest (Print) (part 2 of 3) – Gerard Rejskind is a High-end stereo/Audiophile expert and the chief editor of UHF Magazine. With over 30 years of experience behind him, Mr.Rejskind has also taken his knowledge and written three books of particular interest to the industry. In addition to this, what he is probably most famous for are his "State of the Art” columns at the back of his magazine; which, in my opinion, is a wellspring of audiophile knowledge. He was nice enough to answer some stereo and turntable questions that I asked on behalf of our fans, fans of High-end, and those who are just getting into vinyl and High-end audio.
UHF website, or to order your subscription HERE.
GoingThruVinyl's Interview with UHF Magazine's Chief Editor Gerard Rejskind (continued)
GTV - Has this era's recession affected the audio market?
GR- It has, but in fact it accelerated what had begun years before. Those audiophiles who set up shop because they wanted to demonstrate how much better their products could sound have largely retired, or died. There are far fewer good dealers. That's especially serious for turntables, because turntables are mostly not plug-and-play. Even dealers who sell turntables have trouble finding people who know how to set one up correctly. At UHF, we see new turntables that were incorrectly set up at the factory, often shipped with alignment gauges that are inaccurate.
GTV - Some say that Hi-Fi systems for the home really got started when Linn brought out the Linn LP12 turntable? Is that true, and what was so special about that turntable?
GR-The Linn LP12 actually had predecessors, but it is iconic because it is the only one of those quality turntables whose development has continued into the modern era. Before the LP12, the motor was considered to be the dominant source of noise, then known as rumble. Linn, and some others, realized that in most tables the vibrations mainly came from the bearing. Thus, making a good turntable became a machining challenge. A bearing had to be quiet, but at the same it needed to be free of play, which would compromise
Anton Newcombe talks about the new Brian Jonestown Massacre record – Aufheben [Listen 31'17"] S02 Ep05 Living in a reverse world
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S02 Ep05 (1 of 1) - Living in a reverse world with Anton Newcombe
Interview Date: April 13, 2012 @10:30am EDT
Special Guest (Audio) - Mr. Anton Alfred Newcombe is a free thinking intellect, passionate communicator, and singer-songwriter & multi-instrumentalist for the band The Brian Jonestown Massacre. I contacted him by phone at his residence in Germany and got to have one of the most interesting and intense conversations I've had with an artist yet.
We talk about religion/spirituality, pitfalls of the music industry, the vinyl record industry, and topics from Rev. Jim Jones, to popular culture and onwards. He talks about his new album, Aufheben, the concept behind destroying something in order to preserve it and he even gives me a perfect example (Georg Wilhelm Friedrich Hegel's use of the term.) He's an amazing guest, great musician, and fascinating interview.
More videos, links and info at the end of the written interview with Gerard Rejskind.
Special guest (Print) (part 1 of 3) – Gerard Rejskind is a High-end stereo/Audiophile expert and the chief editor of UHF Magazine. With over 30 years of experience behind him, Mr.Rejskind has also taken his knowledge and written three books of particular interest to the industry. In addition to this, what he is probably most famous for are his "State of the Art” columns at the back of his magazine; which, in my opinion, is a wellspring of audiophile knowledge. He was nice enough to answer some stereo and turntable questions that I asked on behalf of our fans, fans of High-end, and those who are just getting into vinyl and High-end audio.
UHF website, or to order your subscription HERE.
GoingThruVinyl's Interview with UHF Magazine's Chief Editor Gerard Rejskind
The audio world is filled with heated debate, with passionate adherents to one particular label, technology, format, class, and the debates are often filled with jargon and technical figures. Can you lend your expertise to simplify the debates and jargon to include the budding vinyl aficionado reading this?
GTV - When did you first get into High-end Stereos and what made you want to start UHF magazine?
GR - I would have been in my early teens. A local doctor was the first in town with a hi-fi system, complete with folded corner horn, and when I first heard it (on a piece of lieder, then unfamiliar to me), I got goose bump. I badgered my parents to buy me my own hi-fi, and the doctor would then let me borrow his records, after showing me how to handle them safely. My own hi-fi was not very good, and I began modifying it, which meant I needed to learn how to solder. I learned a lot more once I was in university, in physics and math. In my 20's, I began designing my own electronics, and started a small company to market my amplifiers, preamplifiers, and even a tape recorder. At one point I also spent time as chief engineer of an FM station, whose sound I improved radically.
I didn't actually start the magazine,
Leafcutter John interview [Listen 24'15"] Picking Up Sound and Spreading the Idea S02 Ep04 (part 3 of 3)
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Picking up Sound and Spreading the Idea with Leafcutter John S02 Ep04 (part 2 of 3)
Interview Date: February 9, 2012 @1pm EDT
Special Guest: Leafcutter John is an
artist, an electronics hobbyist, and a musician who is always thinking up new ways of exploring sound. He has brought out a list of incredible albums like “Microcontact” [Planet-Mu] ,“The Housebound Spirit” [Planet-Mu], “The Forest And The Sea” [Staubgold], and "Tunis" [Tsuku Boshi] as well as worked with the jazz band Polar Bear (with Seb Rochford) on their album “Peepers” [Leaf Label]. He has a website where he describes some fascinating projects that he has worked on like “Making your own Acoustic Guitar,” “Soundtrap 2,” “M-Log Controller,” “Growing your own Contact Mic,” “How to make Laser Microphones, “ “Light Controlled Music,” and much more. Check him out HERE.
ATTENTION: We are having a draw to win a Colorado Record Crate. Just hit the "like" button at the top of this page to enter. We have one more draw to win (Next deadline is Monday April 16 @ 1 pm). You must be 18 years old and answer a skill test question to win. Tell your friends!!!!(Winners outside North America pay shipping fees.)
Article On A Long Thin Wire
Guitar, drums, bass, keys, maybe a DJ 
scratching a disc if you're hip. You're hip, right? That's what you need to make music, ya? Forget the laptop, you tool. Without these things you'd be reduced to a cappella, yes? Well, there's a lot more to the world that can be used to produce a work of music, or sound art, or whatever you want to call it, and a lot of it is really brilliant.
Sound can come from many things. Often, the knee-jerk reaction is to dismiss sound art as ridiculous; it gets a lot of flak, and there will always be opponents to anything new, but one thing we're hoping to do here on this site is to introduce listeners to new forms of music; we do this for the love of music. Try it, you might like it. All you need to do is open up your mind and ears and accept music from another approach.
Leafcutter John interview [Listen 35'55"] Filling Up Space and Doing What I’m Told S02 Ep04 (part 2 of 3)
Podcast (explicit): Play in new window | Download
Filling Up Space and Doing What I'm Told
Interview Date: February 9, 2012 @1pm EDT
Special Guest: Leafcutter John is an artist, an electronics tinkerer and a musician who is always thinking up new ways of exploring sound. He has brought out a list of incredible albums like “Microcontact” [Planet-Mu] ,“The Housebound Spirit” [Planet-Mu], “The Forest And The Sea” [Staubgold], and Tunis [Tsuku Boshi] as well as worked with the jazz band Polar Bear (with Seb Rochford) on their album “Peepers” [Leaf Label]. He has a website where he describes some fascinating projects that he has worked on like “Making your own Acoustic Guitar,” “Soundtrap 2,” “M-Log Controller,” “Growing your own Contact Mic,” “How to make Laser Microphones, “ “Light Controlled Music,” and much more. Check him out HERE.
ATTENTION: We are having a draw to win a 
Colorado Record Crate. Just hit the "like" button at the top of this page to enter. We will be picking one winner once a week for two more weeks (Next deadline is Monday April 9 @ 1 pm). You must be 18 years old and answer a skill test question to win. Tell your friends!!!!
Embracing the Experimental
There are scores of books on experimental music, and many of them are very pointedly academic and obfuscate the concepts to the point that you simply must be an academic, or a dedicated and passionate fan of experimental music already to get through the convoluted and highfaluting verbiage. That's not our point here with this article (except when using the word obfuscate as a case-in-point). I won't even get into the debate about whether avant-garde and experimental music are the same or not; I could, but I want this article to be something different than that.
Experimental music may do themselves a disservice by catering to themselves in nerdy-elitism; but honestly, they probably want it that way. And really, if you can't get past the point of thinking that this type of music is mostly just screeching sounds and random percussion and it really isn't for you, then so be it. You're a lost cause. But if there's something there that intrigues you at all, then this type of music can really take you down a whole new avenue of musical appreciation, and obviously, a type that you can't get elsewhere.