Easily the most unusual analog-related product introduced at AXPONA 2016 was Jim Fosgate's Foz XT-R crosstalk reducer built and marketed by electronics manufacturer Jolida..
Minimizing inter-channel crosstalk maximizes channel separation and helps produce a maximally wide and balanced soundstage. Azimuth is a critical cartridge set-up parameter.
Many if not most gimbaled-bearing tonearms don’t allow for axial tilt adjustment to set azimuth.
With arms that do, unipivot or gimbal bearing, physically making sure the head shell is parallel to the platter or setting cantilever perpendicularity using a mirror, does not insure correct azimuth setting just as an arm parallel to the record does not assure correct SRA/ VTA.
Rhino releases on June 25th a box set containing re-mastered versions of Joni Mitchell's first four Reprise albums (1968-71). The date is the 3 days after the 50th anniversary of the original release of Blue, which many fans consider a pivotal album in her recording career and one of the most thoughtful musical expressions of love lost ever. It was also her final Reprise release. Blue, like albums by Nick Drake and a few others from that era continue to be rediscovered by succeeding generations of fans and musicians alike.
In case you missed this Billboard Magazine interview with Joni Mitchell, conducted upon the release of her 4 CD retrospective box set Love Has Many Faces, A Quartet, A Ballet, Waiting to Be Danced.
Not that it’s any of my business, but I was disappointed reading that Joni Mitchell had nixed Taylor Swift’s playing her in a biopix. “All you’ve got is a girl with high cheekbones” she’s reported to have said.
Josie Cotton, best known for her “controversial” 1980 song “Johnny Are You Queer” that turned into a minor international phenomenon while outraging evangelical types and has a back story worthy of a mini-novel, returns with a high low-concept album. You can search the internet for the backstory and watch her perform the song on YouTube.
It doesn't slight to this well-produced, thoroughly engaging record to write that singer/songwriter/pianist/raconteur Judith Owen is best experienced live in concert.
Jon Anderson was always busy exhorting listeners to “Get up!,” “Look around,!” “See yourself!,” etc. His lyrics feel like a Tony Robbins self-improvement course (“Take the straight and stronger course to the corner of your life,”), but Anderson and co. were doing it first and setting the self-help lectures to bombastic musical constructions. Because of Anderson’s lyrical themes, Yes could be preachy, pretentious, mechanical and cold, but you had to respect the musical craft—especially the rhythmic suppleness (it was smart to unleash Bill Bruford) and the group’s sophisticated manipulation of dynamics.
The timbre may have deepened, though almost imperceptibly, but caressing the soft, melodic waves of this set of tidily drawn, dreamy reveries, k.d. lang�s voice remains a magnificent, mellifluous instrument.