THE S&V INTERVIEW

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Chris Chiarella Posted: Oct 28, 2005 0 comments
"I put a good deal of thought into how my movies will look on home video."
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Mike Mettler Posted: Mar 12, 2015 1 comments
To modify a phrase, fingerpicking guitar maestro Jorma Kaukonen just keeps on innovatin’. For over a half-century, Kaukonen has followed his own path and applied his folk roots to variations on psychedelia with Jefferson Airplane and free-form blues with Hot Tuna, not to mention his own solo rock and unplugged outings. On his acoustic-driven new disc, Ain’t In No Hurry (Red House), Kaukonen continues to push forward on tasty, intense tracks like the hopeful timelessness of “In My Dreams,” the traditional riches-to-rags lament of “Brother Can You Spare a Dime,” and the down-home grit of “The Terrible Operation.” Observes Kaukonen, “One of the cool things about the way the album is mixed is that there’s this magnificent, transparent presence of all the instruments, no matter who’s playing and where they are. You can hear them all; they’re there.” Kaukonen, 74, and I got on the phone recently to discuss his recording techniques, his mastery of Drop D tuning on an iconic song, and the hi-fi gear that’s served to enhance listening experiences all throughout his life. The man may not be in a hurry, but he sure is getting somewhere.
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Mike Mettler Posted: Feb 25, 2015 0 comments
Being appointed one of the queens of the alternative music scene was never one of Juliana Hatfield’s goals. But there she was, right in the thick of the then-burgeoning movement — first in the alt-rock trio Blake Babies, then as a titular solo artist known for meshing expressive vocals with intrinsically catchy melodies fueled by a combo punk-and-pop sensibility. “I was very moved by melody and harmony from a very early age,” Hatfield says. “It affected me very powerfully.” She recently reunited with her Juliana Hatfield Three compatriots, bassist Dean Fisher and drummer Todd Phillips, for the uber-catchy Whatever, My Love (American Laundromat Records), a 40-minute ride through Hatfield’s world of melodic, introspective angst, from the acoustic lament of being “Invisible” to the moth/flame dance of “Push Pin” to the odd-meter frustration of “Wood” (the latter of which features a cool, feedback-laden outro guitar loop). Hatfield, 47, and I got on the horn to discuss her vocal techniques and recording goals, her natural sense of melody, and her ongoing struggles with communication. Whatever and ever, amen.
KIm Wilson Photographer Connie Palen Posted: Dec 05, 2009 0 comments

In this brand new condo, the homeowner required something simple, primarily to watch TV and DVDs. He had a complex automation system installed by an inexperienced integrator in his previous residence and found it too cumbersome and complicated to operate.

"Simplicity and high quality components were the client's two main requirements", said Chris Abbott, the Project Manager for Abbott's Technology Design Group of Las Vegas, Nevada. "Normally we don’t do 2-channel systems but this was a long time customer with a very specific wish list."

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Mike Mettler Posted: Nov 12, 2014 0 comments
Bruce Hornsby could never be accused of being an artist who rests on his laurels. "I’m such a different musician in every way than I was 20 years ago," he admits. Prime evidence of the master pianist's ongoing creative evolution can be found all over the double-disc Solo Concerts (Vanguard), where Hornsby explores a variety of styles from behind the keyboard: everything from blues ’n’ boogie to New Orleans funk to the tenets of modern classical music. He also recasts the character of some of his best-known songs, such as turning "The Valley Road" into a blues vamp and giving "Mandolin Rain" an indelible bluegrass stamp. Here, Hornsby, 59, and I discuss how he "makes friends" with new pianos, when and when not to use reverb, and his philosophy of A/B'ing to find the proper live SQ baseline. Pushing the creative envelope — that's just the way it is with Bruce Hornsby, and we hope it's something that never changes.
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Mike Mettler Posted: Mar 25, 2015 0 comments
To borrow a song title, things can only get better for Howard Jones. Known for such indelible synth-driven ’80s hits like “What Is Love?,” “No One Is to Blame,” “New Song,” and “Everlasting Love,” Jones has focused his efforts in recent years on his inherent talents as a songwriter and arranger, not to mention his knack for creating multimedia-driven live experiences. All of his musical gifts are on fine display with Engage (dtox music and arts), a two-disc CD/DVD set that features a vibrant 5.1 mix on DVD by Robbie Bronnimann, Jones’ longtime sound designer. Jones, 60, and I connected across the Pond to discuss the Engage project, the possibility of future high-resolution remixes of his storied catalog, and his thoughts on vintage analog gear. Jones is one man who knows how to put his dream into action.
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Mike Mettler Posted: Jun 11, 2014 0 comments
Photo by Maureen Clark

There are blues legends and there are blues masters, and then there’s John Mayall. Long acknowledged as the father of the British blues scene that emerged in the heyday of the ’60s and the man who helped school the guitarslinging likes of Eric Clapton, Peter Green, Mick Taylor, Coco Montoya, and Buddy Whittington, the 80-year-old Mayall shows no sign of slowing down anytime soon. “You have no other choice, really,” he says matter-of-factly. “You set your feet on your path, and that’s what you stick with. It’s the only thing that you know to do.” His latest album, A Special Life (Forty Below), carries on the rich blues tradition, thanks in no small part to Mayall’s rapport with his band, led by a Texas-born guitar ace (Rocky Athas) and anchored by a Chicago-bred rhythm section (bassist Greg Rzab and drummer Jay Davenport). “Never plan to fade away,” Mayall sings in the title track. Dear John: We’re going to hold you to that.

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Mike Mettler Posted: Apr 02, 2014 0 comments
Photo by David McClister

“I’m basically what is known as a talented illusionist.” So says piano wizard Leon Russell, but the Oklahoma native is being more than somewhat modest. His C.V. is as impressive as they come: First-call member of the legendary ’60s L.A. studio collective known as The Wrecking Crew, co-founder of Shelter Records in 1969 with Denny Cordell, spearhead of Joe Cocker’s infamous 1970 Mad Dogs and Englishmen tour, and beneficiary of a revived recording career by teaming up with Elton John on 2010′s T Bone Burnett-produced The Union. On his just-released Life Journey (UMe), Russell comes full circle to show his mastery of the form on tasty covers like his piano-vamp stab at Robert Johnson’s “Come on in My Kitchen,” a slip-slidin’ romp through “Fever,” and a swing-sational full-orchestral take on Duke Ellington’s “I Got It Bad and That Ain’t Good.” Here, Russell, 72, and I discuss his ever-unique recording technique, what it’s like being “out on the edge,” and his time in the studio with Frank Sinatra. Face it, Brother Leon: You’re a one-man Wrecking Crew unto yourself.

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Mike Mettler Posted: May 28, 2014 1 comments
“We were united for the best sound we could get, and that was it. That was what we were chasing.” Is Linda Ronstadt revealing her high-end hopes for Hasten Down the Wind? Actually, that’s her assessment of the main goal she had for the 15 songs on her new compilation, Duets (Rhino). The ace song interpreter simply soars on songs like the tender but tough “I Never Will Marry” with Dolly Parton, the special intuitive blend she gets with James Taylor on “I Think It’s Gonna Work Out Fine,” and the complementary vocal halo she sets for Frank Sinatra on “Moonlight in Vermont.” Ronstadt has since retired from singing (in 2013, she revealed she has Parkinson’s disease), but that hasn’t stopped her from appreciating the sound of a good mix or a stellar vocal — or gently trilling a few lines of her favorite songs while we talk. Here, Ronstadt, 67, and I discuss her hi-fi proclivities, when not to use echo, how the right vocal texture tells the right tale every time, and how she learned about spotting hollow fifths.
Darryl Wilkinson Posted: Dec 21, 2007 6 comments

<I>Trying to build the perfect home theater isn't easy, but it sure is worth it.</I>

Nancy Klosek Posted: Aug 28, 2007 0 comments
What's possible these days—and how much or how little money does it take?
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Jamie Sorcher Posted: Nov 30, 2012 0 comments
At Home Theater, we’re all about the gear, but our systems would mean nothing without the memorable films we watch on them. Barry Sonnenfeld has had a hand in a good many of those. A 1978 alumnus of New York University Graduate Film School, Sonnenfeld broke into the biz as cinematographer for 1982’s Academy Award–nominated documentary In Our Water.
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Mike Mettler Posted: Dec 10, 2014 0 comments
When Mark Rivera isn’t splitting his time being Music Director for Ringo Starr or serving as a versatile multi-instrumentalist with Billy Joel (the latter for 32 years and counting), he’s doing what any good audiophile would — dropping the needle on some fine, fine wax. “The warmth of vinyl is like nothing else,” Rivera reports. “It really is. To me, it feels like it embraces you. It simply surrounds you.” Earlier this year, Rivera also found the time to put out his first solo album, Common Bond (Dynotone/Red River), and he’s patiently been overseeing having 1,000 copies of it pressed onto vinyl. “I couldn’t be more enthusiastic and more pleased about that,” he says. Here, Rivera, 62, and I talk about Common Bond‘s core production values, vintage gear and favorite LPs, and the ways music resonates over one’s lifetime. Ok, fine, we admit it — we just can’t get enough of that vinyl stuff.
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Mike Mettler Posted: Sep 24, 2014 0 comments
And then there were… five? The above photo is no trick of the tale, for you’re indeed seeing the five key members of Genesis — from the top of the stairs down, Phil Collins, Tony Banks, Steve Hackett, Peter Gabriel, and Mike Rutherford — together again for the first time in many years. No, they’re not reforming, but rather have come together to celebrate the career-spanning documentary Genesis: Sum of the Parts airing on Showtime October 10 (and expected to see home release sometime in November), as well commemorate the September 30 release of R-KIVE (Rhino), a 37-track, three-CD box spanning 42 years of both band and solo material. “I know, who’d have thought there’d be all of this activity at my age?” laughs Mike Rutherford, a mainstay of the band through all of its incarnations. “But when you see all these songs side by side, like ‘Turn It on Again’ with [Collins’] ‘In the Air Tonight,’ [Gabriel’s] ‘Biko,’ and [Mike + The Mechanics’] ‘The Living Years’ — you go, ‘Wow, that’s a great body of songwriting.’ ” Full-bodied, you might even say. Recently, Rutherford, 63, and I talked about the band’s impetus for sound quality, why tracks like “Supper’s Ready” still endure, and what might come next. Play me my song, o musical box.
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Chris Chiarella Posted: Feb 14, 2013 1 comments
Spin a few of sound re-recording mixer Greg P. Russell’s movies on a proper 5.1 or 7.1 system, and you’ll soon realize that this guy loves home theater. Having worked on more than 200 movies, including every Michael Bay opus since The Rock (although he freely admits “Armageddon was over the top”), Russell has crafted some of the most thrilling soundtracks of our generation.

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