An Interview With Record Producer Joe Harley, of Audioquest and Music Matters Jazz
Recordings and playback gear are two different sides of the hi-ficoin, and while many people have made careers creating one or the other, far fewer have made significant contributions to both. Joe Harley is one of those few. A longtime principal with the influential high-end audio manufacturer AudioQuest, he also continues to expand the discography of highly regarded recordings he has produced or helped to remaster, of both new and historically significant music.
SASHA MATSON: More than most, you’ve been involved in both sides of the High End: gear and music, or what some now call hardware and software. Describe that perspective.
JOE HARLEY: Interesting question, Sasha. One side, of course, involves archiving the original creation in a way that will best present that to listeners. The other involves maximizing the playback of that creation.
On the recording side, we are not so concerned with being absolutely literal, unless we’re speaking of classical and some jazz. Even then, we’re not always being literal. I think most people would be shocked if you turned off all manner of EQ, effects, and reverb on a jazz session. And they would absolutely be shocked if you did the same on a pop session. I was involved with a Charles Lloyd recording in Los Angeles for ECM some years ago, and someone asked if there was any added reverb on Charles. I said yes. This person then said, “Are you sure? I don’t hear it.” I reached over and turned it off, and this person said, “Oh! I like it much better with it on!”
The playback side, by contrast, is all about being literal and truthful to the recording at hand. Here you absolutely do not want any editorializing going on, which is, by definition, distortion. We want our speakers, electronics, turntables, cartridges, and cables to, as much as possible, be passive conduits to the original recording.
هذه القصة مأخوذة من طبعة January 2017 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك ? تسجيل الدخول
هذه القصة مأخوذة من طبعة January 2017 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
Michael Des Barres and the Art of Aural Obsession
Listening to music inspires us to take action. Upon hearing an I.E.-Instant Earworm-we must then determine the best way we can go about listening to it again (and again) at our convenience.
PLANET OF SOUND
BLACK FRANCIS ON HARNESSING THAT MAGIC PIXIES DUST
T+A R 2500 R STREAMING RECEIVER PHONO MODULE
In my review of the T+A R 2500 R receiver (August 2024 issue), I covered many of its features and took as deep a dive as time and column inches allowed.
Audia Flight FLS10
The dogma of separates has long reigned supreme among audiophiles: If you're serious about sound quality, you're supposed to need a dedicated preamp and power amp.
Totem Acoustic Element Fire V2
Totem Acoustic was founded in 1987, in Montreal, Canada, by a former high school math teacher named Vince Bruzzese. The company's first product, the Model 1 loudspeaker,' impressed me so much I bought a pair.
MoFi Electronics MasterDeck
Get two mouthy jazz drummers in a room and watch the sparks fly. Talented turntable designer Allen Perkins, the brain behind Spiral Groove,2 Immedia's RPM turntables,³ and various SOTA models, is first and foremost a jazz drummer.
Soulution 727
AImost 14 years have passed since a review of a Soulution product appeared in the pages of Stereophile.\"
The Spin Doctor checks out the Kuzma Safir 9, a superarm from Slovenia.
The British audio scene from the late 1970s through the mid-1980s was pretty strange. Audio as a hobby was a big deal, with widespread appeal to a much younger crowd than today. Audiophiles were guided by a flurry of what my friends called \"hi-fi pornos,\" audio magazines that filled the racks at the newsagents.
Alex goes to Japan
Arriving in Japan from the United States is like being turned upside down. This condition lasts for much of the first week. When I visited in November, the time difference between Tokyo and New York was 14 hours. \"The floating world\" is a term for the pleasure-addled urban culture of Edo-period Japan, but it's also an apt description for the twilit and not-entirely-unpleasant weirdness of first arriving in Tokyo. Everything seems slightly unreal.
Wilson Audio Specialties The WATT/Puppy
Since the original WATT/Puppy concept kicked off in the late 1980s,' there has been a 40-year evolution leading to the latest version reviewed here.
