Author: Paul Cervantes

The Legacy of my friend, Brooks Berdan: My REGA P3 / Sumiko Blue Point Special EVO

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I have a lot of fond memories of my old friend, Brooks Berdan. In my early days as a reviewer, he was always kind enough to loan me gear for review that would have been difficult to get my hands on otherwise.

Later, when I consulted to Music Reference and Muse Electronics I learned what a truly fantastic dealer Brooks was and how hard he worked for his customers. Brooks was an unusual dealer. He had a national reputation, but did virtually no business over the phone (let alone over the internet). Brooks was the rare dealer who wanted and even needed to know his customers before he would do business with them, let alone separate them from their money.

Brooks loved tube gear and faithfully represented Music Reference and RAM Tubes like no other dealer in the US. His loyalty had its perks. Very often, I would hand deliver his orders directly from Santa Barbara, especially when he was ordering a lot of tubes or a one-off product like a hand-made RM-9 Special Edition.

Of course, hanging with Brooks was a special pleasure. We could talk music, or gear, or motorcycles, or the challenges of making a marriage work, for hours at a time, and we usually did. Back in 2003, when I was going through my divorce, I dropped by Brooks’ shop one afternoon. I was giving him the summary version of where things were and mentioned, in passing, that it had become tough to write reviews since I hadn’t taken my analog rig when I had moved out of the house. Brooks looked up from what he was doing and asked me what I needed. I told him I could get along fine with a simple set up and that the Kuzma Stabi and Dynavector XL that was back in Santa Clarita were loaners from the distributor anyway.

Without a word, Brooks vanished into his storeroom and emerged with a boxed REGA P3 under his arm. Brooks asked me if I liked Sumiko Blue Point Special EVO. I told him I’d never been a huge fan of the original but had never heard the naked EVO version. “Well,” Brooks said, “try it. It’s a lot better than the old one. If you don’t like it you can always try something else.”

Up until that point, I figured Brooks was setting up the REGA for a customer, or as a demo, but I realized he was building it for me. “You know, Brooks, cash is a little tight right now; this whole divorce thing doesn’t come cheap.” Brooks shook his head. “Don’t worry about it, pay me when you can.”

For the next hour, Brooks lovingly set up the REGA and the Sumiko. He did his work with a level of care that would seldom be afforded to such modest gear, but that was Brooks. For him, it didn’t matter if he was setting up an SPj La Luce or a REGA. He always took his work very seriously.

When he was done I said, “Thank you, Brooksy; what do I owe you?” “Don’t worry about it, just send me what you can when you can.” “Brooks, come on, I’m not that hard up, what do I owe you?”

Grudgingly, Brooks got out his price sheets and said, “OK, my cost on this is like $600, so send me a check for $500 when you can. Make the check for more than that and I won’t cash it.” Then, Brooks looked at the REGA and said, “Divorce is hard. You know what I’d like to ask my ex? Was I really that bad?”

I don’t have a guess about what Brooks was like as a husband, but I know he was much more than a business associate to me, he was a friend. On that day, I had no intention of asking Brooks to help me out. It turned out I didn’t need to, Brooks was the kind of man to recognize a friend in need and would do what he could to to help.

The other day, I was thinking about that now-aged REGA, and how the decade had just flown by me like a breeze. I miss not playing many records these days. I listen to music every day, usually on my iPhone, occasionally on my small system at home. But, it has become the rare day when I have the time to play an LP and I miss the sound, the life and the pure joy of it. I’m sure the suspension on that old Sumiko has gotten a little dry and hard, but it still sounds great. Someday I may have to replace that cartridge but I don’t want to…

It was set up by the all-time master of analog, Brooks Berdan, and I’m proud to say he was a friend of mine.

The Legacy of my friend, Brooks Berdan: My REGA P3 / Sumiko Blue Point Special EVO

How to evaluate high end audio gear: Choosing reference recordings

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From time to time I get emails asking which recordings I have used when I write reviews and why. I usually keep this type of information to myself for my own odd reasons.

But in this case, I will relent: 

In the early 70s, before the term audiophile had come into common use, a recording was made that unknowingly adhered to every audiophile convention that are now the subject of so much of the hype that infects today’s audiophile labels. The record is Joni Mitchell’s Ladies of the Canyon (Reprise RS 6376). First of all, this LP is among the last of the big label LPs that were lovingly pressed on only the finest vinyl. My pressing is pushing 30 years old, is free of pops and ticks, and tracks just as it did lo those many years ago. Here we have the most challenging registers of the female voice, trading focus with cello, clarinet, piano and more. Can you hear the shadings that make the clarinet stand clear from the voice? Do you hear the floor boards resonate beneath the cello? The truth is in the details, and this LP has a wealth of them. The recording is beyond reproach, and the compositions are sublime and timeless. The bad news? This baby will be very hard to find in decent condition.

Sorry for follow up one needle in a haystack LP with another, but this one is another LP that will become an essential part of your collection, if you can get a hold of a copy. It is the 1984 release by guitarist George Cromarty, Wind in the Heather (Dancing Cat Records {a division of Windham Hill} DC3001). This is an amazing collection of short solo guitar pieces. Each of the 13 original compositions are melodic masterpieces in their own right, and the recording is simply lucious…easily the finest recording of acoustic guitar that I have ever heard. The mastering was done by Bernie Grundman and you will never hear a cleaner pressing. Like the Mitchell LP, this LP is invaluable for listening to a system’s critical ability, or sometime unfortunate inability, to render both a natural sound space and retrieve the essence of the acoustical truth of the music. Does the guitar emanate from clear space, or does it seem bound to the speakers? Do the overtones of each note connect to the fundamental pitch of the note, or does one come from here and the other from a over there? Acoustic instruments demand coherence, and this is always a challenge for a multi-driver loudspeaker.

But what, you may ask, about the non-acoustical truth? Find yourself (this will be much easier) a copy of the 1975 classic from Steely Dan, Katy Lied (ABC Records ABCD-846). Again, here we have audiophile sensibilities before audiophile pretensions. The back cover of the album notes not only the use of a Neumann VMS 70 lathe, but also advises strict adherence to the RIAA curve. Who says the ‘70s were an empty decade? This is great stuff, rock with wit and intelligence played by some of the hardcore studio guys of the era (including Rick Derringer, the late Jeffery Porcaro, and a pre sellout Larry Carlton). My friends, these guys could play. If your system is unable to play “Chain Lightning” with Derringer’s sharp & wicked guitar riffs and Porcaro’s thundering drum fills both loudly and with ease please resign as an audiophile and take up bowling.

Here’s something you can buy new that represents the state of the art in vinyl today. The artist is Sonny Landreth, bayou slide guitarist extraordinaire. The LP is called Outward Bound and you can buy a new pressing of this from none other than Classic Records (RTH1032-1), and while you can also get it on CD, why would you? For a modern rock recording, Outward Bound is dynamically challenging for a system. The players showcased here don’t spend much time tacking it easy. Mastering, once again is by Grundman, and while the pressing is good, it doesn’t measure up to the oldies that have discussed previously in this section. Again, this material needs to be recreated at full volume, yet always in complete control and with all of its original tonality and timbre intact.

The language of audio (and now video) is critical if we are to make ourselves understood. The bad news is that most of our vocabulary is borrowed from photography and other visual arts. Terms like imaging and focus really have no place in a audio, but they have become terms of art that we all use without thinking about them. Even the oft used term bright refers to brilliance of light rather than anything even remotely related to sound. Still, it’s just too late to buck the semantical system, so here are some notable CDs that I use. Please note that some of these will be easy to find, while some a bit rare.

A good starting place is Amazon.com as their search system allows you to find CDs by a number of different criteria from performer, piece of music, ensemble, label and catalog number. Tone, timbre and ambiance: Three tests, one CD One Minute and thirty-four seconds! The Cowboy Junkies / The Trinity Sessions (RCA 8568-2-R) Track 1: “Mining for Gold.” This classic traditional tune, sung a cappella by Margo Timmons will tell you more about what your system can and can’t do than any other minute and a half of recorded music can. It was recorded using the famed (notorious?) Calrec Ambisonic microphone in the Church of the Holy Trinity in Toronto. What you should hear, what you must hear, is the sense of the church’s physical size and space even before Timmons starts to sing. In the center of the space you should hear Timmons’ earthy, smoldering yet sweet voice at once anchored and yet floating in the center of the soundstage. Can you hear it? If you can you’re already most of the way there. If you can’t, well, “Houston. we have a problem.” Until you can get this most basic test right, your system will be stuck in neutral.

Midrange pitch precision and speed of attack and decay: Laurel Zucker & Susan Jolles / Images for Flute & Harp / Sonatine for flute & harp Victor Frost (1952-) (Cantilena Records 66016-2) Track 14 Moderato e deciso. Lots of luck finding this gem…it took me weeks to find it. The flute and harp cast their notes squarely on pitch and the interplay between the distinct voices create quite a challenge. Listen for any tendency for the flute to sound wispy or tonally dispersed. It is not a function of the recording. The harp’s strings start and stop quickly so any sense of slowness or muddying tells you that something bad is happening. As an aside, this is a truly fine piece of modern classical music in a sea of amusical junk. This CD is worth the trouble of finding it, and trouble you will have.

Small scale ambiance & image placement: Gabriel Fauré The Two Piano Quartets / The Ames Piano Quartet (Dorian DOR-90144). The entire CD is the very pinnacle of the genre in both performance and recording. A good system has to place each of the three string instruments in their own sound field with the piano well focused, yet expansive. A weak system will have the notes of the piano jumping (seeming to come from different positions as the pitch changes) and the strings may become crowded together or unnaturally spread out. Again, not the easiest CD to find, but it’s out there and in print.

Large scale ambiance & image placement: Brahms-Schoenberg Piano Quartet in G minor / Baltimore Symphony Orchestra (Vox Cum Laude MCD 10018). Again, not an easy one to find but a treasure. To my knowledge, the only current release featuring Schoenberg’s orchestral transcription of this seminal piano work by Brahms at the height of his creative powers. The job of recreating the sense of a full orchestra in one’s listening room is at once irresistible and impossible. The scope and sweep of the dynamics are just too much, not to mention the sheer space and complexity that the music presents. Still, we must try: What we want here is a sense of size and majesty without strain. A great system will be able to approach this ideal and lower volume levels and the poor system won’t be able to get it right at any level. Listen also for a natural portrayal of shifts between the loud and the soft and everything in between. Any tendency to draw the presentation of the music toward the speakers, like light from a flashlight, is bad and is illustrative of a system that has reached its limits.

Dynamic shifts, tonal consistency & complexity: Beethoven-Liszt Piano Transcriptions Symphony No.6 / Glenn Gould (Sony SMK 52639). Want to hear Beethoven’s Pastorale symphony as if for the very first time? That’s what it’s like to hear this wonderful Lizst transcription of this sadly overplayed, yet marvelous piece. By giving a solo piano virtually all of the symphony’s themes, Liszt strips the melodies and harmonies of this piece bare. One can hear much further into the piece without all of the timbre and voices of the full orchestra. A system will also reveal if it has any problems recreating a sense of tonal complexity without a feeling or tendency toward confusion. Gould’s playing and the recording are beyond reproach. A superb system will keep the tonal nature of the piano consistent whether the notes are played fast or slow, loud or soft. How does your system capture these essentials?

This is by no means a comprehensive list, but rather a sampling of recordings I trust to ask and answer basic questions of essential system musicality.

How to evaluate high end audio gear: Choosing reference recordings

Eureka! I have found it! A look the fleeting nature of the Aha-Moment in golf

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Everyone who has ever played golf has experienced his share of Eureka moments. You know…when some little, seemingly insignificant move or feeling leads to a streak of ball striking that would make Hogan envious. The question is what makes the feeling (and the glorious results) go away?

Was it really just a feeling; some phantom perception the brain tricks the player into believing is real?

Or, was the feeling genuine but merely based upon a movement, or position, that could not be sustained over time?

Or, speaking of time, was the good play the result of an increased yet transitory sensitivity to rhythm? If it’s this, it’s all the more surprising that it goes away. Once we learn the meter and rhythm of a dance step, we’ve usually got it for good.

Beyond these questions, is whether the same discovery can come back and work more than once?

Fortunately, there are people who know a lot more about the golf swing than I do and are far better able to wrestle with these questions. Two of them are PGA professionals I’ve had the pleasure of working with. Tony Manzoni is the author of The Lost Fundamental (www.thelostfundamental.com) and Kathy Cho (www.kathychogolf.com) is working on a book called, From the Hole to the Tee, an instructional book especially for children and the adults who teach them.

Tony was a tour player and is also one of the founders of Callaway Golf. For the last 40 years, he has been one of the most sought after teaching professionals in the California Desert. He has also coached the College of the Desert golf team for the last 25 years, leading them to dozens of league championships.

Kathy is both a Class A PGA and LPGA professional. She has been the head coach of Pasadena’s First Tee program at the city’s legendary Brookside Golf course for the last five years. She has been teaching the game she loves since 2003.

For Kathy, “The Eureka moment is a beautiful thing. It’s just the game of golf. Part of golf’s challenge is that it can be so frustrating.” The question for Kathy is how the player deals with frustration when it comes. She says, “Relax, and use quality practice to rebuild your confidence. We’re all looking to stay in the zone when we get there, but tension and frustration are the enemy,” Kathy warns. “The player who has lost his way needs to be positive, patient and be ready to play well again.

One point Kathy made I should have anticipated but didn’t, was perhaps the most obvious: Take a lesson. Your local PGA pro may be able to recognize what has gone wrong with your swing and will save the player a great deal of frustration, let alone time.

Kathy also thinks it’s a good idea to have a check list of sorts that details what was going on when the player was in the zone as well as when he lost his swing. Kathy says, “Ask yourself if you’re feeling OK? Have you been staying healthy? Are you practicing good course management or have you been playing golf the hard way?”

Kathy wants her students to think about the basics. “The golf swing has too many parts for us to think about everything that’s happening. Also, it’s easy to try too hard and to over swing when our game takes a bad turn.” Instead, Kathy advises players to, “Think about the basics like good balance, keeping a steady pace; that includes keeping control of your breathing.”

Few in golf have accomplished what Tony Manzoni has accomplished during his storied career. He has enjoyed success as a player and an entrepreneur. Tony’s also given back to golf with his long and impressive tenure as the Director of College of the Desert’s Golf Management Program and as a teaching professional. Golf is Tony’s game, but even someone of his stature can occasionally be made humble by this game.

“Everyone who has played golf for a good number of years has shared this common experience, or Eureka moment; when a swing idea, or maybe a thought from the past, surfaces and all of a sudden we are hitting the ball like we always dreamed we could. Sometimes it happens on the driving range or when you are out playing, and generally none of your buddies are around to witness this state of Hoganism. You can’t wait to utter the forbidden phrase, I’ve got it, to anyone in sight.”

“I’ve had those moments when the game seemed so easy I’d start fantasizing about winning the next tournament. I could hardly sleep at night anxiously waiting for daybreak to hit the links and show the world the new me. Then, like a puff of smoke the spell is broken. No matter how hard a player tries to re-create yesterday’s results nothing works. Then you’re left to wonder: how can the golf god’s be so cruel?”

“I have seen grown men weep over this frustrating dilemma; it`s like God has let them see golf heaven for just a moment and then shut the door. I’ve had students come to me and say, Coach, I hit it so good yesterday but today I stunk up the place, what can I do?”

“My answer may be difficult to swallow. Golf is a game of feel, not a game of purposely doing something. When you feel like it’s going to be good prior to doing it, the magic happens. When you are trying to make it happen, good luck. It is far easier to blueprint the feel of a mistake than to anticipate perfection. Pressure is the manifestation of doubt. If we can, we feel the positive outcome beforehand; pressure or doubt does not exist. When the Eureka moment happens enjoy and remember the feeling. It is internal and not meant to be talked about or displayed.”

I have to admit these two pros may see things a bit more clearly than I can. Me? I’ve had my share of Eureka moments, but I now work hard to ignore them. I try to work ceaselessly and ploddingly on what I believe to be fundamental, but that’s not always easy. Still, this practice keeps me from getting too worked up over something that probably won’t stick around.

It is difficult to resist telling our golf buddies about our latest discovery that has us reconsidering our career choice and dreaming of a trip to Q School. As I said, that’s a lesson that took me many years to learn. It will always be hard for our drive to excel to coexist with the wisdom of being reasonable when it comes to expectations about how well we play. It’s often more difficult to be fair to ourselves than it is to be fair to others.

With any luck, my next Eureka moment is coming along soon; but I won’t be telling anyone about it when it arrives!

Eureka! I have found it! A look the fleeting nature of the Aha-Moment in golf

Golf’s technogurus & losing the elegance of self discovery

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When Jon Fitzgerald reached the age of 40 he embarked on an all-too common quest; to make his golf game as good as possible. His film, The Back Nine, chronicles his project. The story starts with a brief personal history of Fitzgerald, his life with his father and stepfather, and a look back at his youthful athleticism.

Like most of us, Fitzgerald has to keep a lot of plates spinning in his life. He has a wife, a job and, at the start of the film, one child. I was interested to see what Fitzgerlad’s effort at the age of 40 would look like compared to mine at nearly 50.

It was quite impressive if at the same time more than a little dismaying.

Fitzgerald started out, as do so many golfers (myself included) by seeking the help of a professional. Now, seeing a golf teacher is far from odd, but what Fitzgerald did went far beyond working with a pro. Rather than just a golf teacher, Fitzgerald started out with a visit to a Yoga/Golf guru in Arizona. She then referred him to a strength coach, who referred him to a swing coach, who referred him to a guy who uses a battery of imaging devices, including a vest with embedded sensors, that would allow Fitzgerald to have his progress monitored via the internet.

There is a part of me who envies the resources Fitzgerald employed, but there’s a bigger part of me who finds it all rather sad. Every player thinks he should be better. They think they should hit it further, straighter, and they should make more putts than they do. There’s something about the attempted blending of golf and technology that suggests to average players that they really can be better if they have all of the information they need. Of course, this is nothing new. Ben Hogan started a good deal of the madness with his now ubiquitous references to pronation and supination in his classic, Five Lessons: The Modern Fundamentals of Golf.

I can’t prove it but my guess is that Hogan, with his undeniably modest education, didn’t know what either word meant until his co-writer, Herbert Warren Wind, told Hogan what they meant. I also can’t prove that Hogan’s use of those two words caused far more confusion than they did understanding over the last few decades. But, they surely have caused a lot of confusion.

Wrapped up in nearly every technological breakthrough in golf instruction is a basic fallacy; that knowing will always make you better. Knowing begs the question of knowing what? In Fitzgerald’s case (and mine, too) the most profound if sobering knowledge is that we’ll never be all that good. We lack the basic ability to be very much better than we are. Fitzgerald’s swing at the end of the films looks pretty much like his swing at the start. He has rather a notchy backswing and can’t quite clear his hips coming through impact. I have the same problems and lots of others.

Do I seem pessimistic? Or, do I seem envious?

No matter what I am I will admit some players get better, I’ll even allow they get better because of solid instruction. But it seems to me there’s a difference between one on one instruction and the technological phalanx Fitzgerald subjected himself to. Players who get better in golf usually do it through a series of hard-won self discoveries. The purveyors of technogolf would have us believe that they know what we might never discover on our own. Fitzgerald discovers he needs orthotics since his left foot pronates (there’s that word again).

Really?

I’m glad some great players with somewhat unusual swings didn’t live in an era when the technogurus could have screwed them up. Honestly, what would these guys have done with Lee Trevino’s self-discovered practice of aiming left while swinging right? If he were young enough, he would have probably listened to them, adjusted his stance so that it looked and measured parallel to his intended line of flight. They would have also shown him that his head dropped 6″ from address to impact and they would have fixed that, too.

And, Lee Trevino would have vanished into golf’s abyss, never to be seen again.

For already accomplished players technogurus may not do too much harm, then again maybe they do. At age 35, Tiger Woods is rebuilding his swing for the third time. I am certain that each time a technoguro convinced him, arguably the best player ever to play golf, that technology proved that his swing needed a substantive change.

Of course, no swing stays the same, and even golf’s old timers sought help in formal and some not so formal ways. But, it’s my contention that one of the reasons contemporary players can fall so fast and so far is from their growing reliance on the certitude technogurus offer. Think of the declines of Chris Riley, Ty Tryon and David Gossett to name only three. Did their games really decline or were they let down by the relentless analysis of technogurus?

At UCLA’s Royce Hall there is a quote from Plato that goes something like this: Education is learning to use the tools which the race has found to be indispensable. The tools championed by the technogurus are genuinely impressive but whether they are indispensable, or even truly helpful, to players is far from certain.

I’m busy writing an golf book for women. In it, I use this phrase: You will also never master this game. You will, however, go from discovery to discovery for the rest of your life.

Golf is a solitary game of self discovery. The congregation of golf’s technogurus may honestly believe in what they do. But, that’s not really what matters here. What matters is that the elegance of self discovery remains at the heart of golf.

Golf’s technogurus & losing the elegance of self discovery