The S&V Interview

“I personally like to be surrounded and ambushed by music. I want it to surprise me, and I want it to come from surprising places,” says Steve Hackett, echoing the sentiments of scores of audiophiles the world over. The progressive-minded guitarist has been enjoying accolades for the depth, compositional excellence, and overall live sound quality evident on his Genesis Revisited II 2013/2014 tour — so much so that a number of additional legs, dubbed Genesis Extended, have been added to his touring palette through next spring, at which time he’ll focus his energies on a new solo album release. Of that forthcoming new music, he says, “I like to think about it as a rock album with a difference. It’s very much like having scenes from a film for the ear rather than the eye.” Hackett, 64, and I got on the line a few days before he headed back out on the road for the next leg of the Genesis Extended tour to discuss how to create “inhabitable” music, his personal favorite Genesis surround mixes, and his view of the ongoing viability of the album format. Hadn’t you heard? He’s a supersonic scientist.

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.

“Souls, having touched, are forever entwined.” It’s a lyric penned by vocalist Ian Gillan in honor of his dear friend and late bandmate Jon Lord, the original keyboardist for Deep Purple who pioneered merging rock music with classical themes. Jon Lord, Deep Purple & Friends: Celebrating Jon Lord (earMusic/Eagle Rock), recorded at The Royal Albert Hall this past April 4, showcases the breadth of Lord as both composer (“All Those Years Ago,” “Pictured Within”) and rock legend (“Soldier of Fortune,” “Perfect Strangers,” “Hush”). Here, Deep Purple drummer Ian Paice, 66, and I discuss the challenges of getting great sound in such a storied venue, how he adapts to working with different bass players, and what the future might hold for Deep Purple. After listening to and watching all that went into Celebrating Jon Lord, there’s one word in the Purple canon that one absolutely cannot use to describe Paice’s energy and tireless work ethic: “Lazy.”

From the smallest of triggers come great things. I was sitting in the dressing room at Pearl at The Palms in Las Vegas on April 14, 2012 with Garbage drummer and co-producer Butch Vig before soundcheck, and we were looking at an album cover from his lesser-known ’80s band, Fire Town. “You know, one of the guys in this band, Phil Davis, and I have started a side project, a band called The Emperors of Wyoming,” Vig revealed. Initially released in late 2012 by Proper Records, The Emperors of Wyoming is a grainy, smoky spaghetti western come to life — pure Americana through and through, from the defiant twang of “I’m Your Man” to the harmonica-driven singalong jangle of “Cruel Love Ways.” Vig and the EOW gang decided to update the album for a 2014 Deluxe Edition released by Liaison Records (“a Super Duper Super Deluxe Edition,” Vig clarifies) by adding two covers — the Afghan Whigs’ “Rebirth of the Cool” and House of Love’s “I Don’t Know Why I Love You” — plus one original: “Drinking Man’s Town." Here, Vig, 59, and I get down to discussing the Emperors’ recording techniques, his views of hi-res audio, and what to expect from Sonic Highways, the new Foo Fighters record that Vig just finished producing, which is slated to come out in November. Right from the hilt of the holster, Vig and The Emperors sure know how to draw big.

Sagacity, definition: Exhibiting acute perception, foresight, wisdom, and sound judgment. Tenacity, definition: Holding together tough and firm, with a tendency to stick or adhere. Two words could not better describe Saga, the longstanding Canadian progressive collective that continues to up its game with every release. To wit: Sagacity (earMusic/Eagle Rock), which crackles with confident energy, from the heavy propulsion of “Go With the Flow” to the anthemic uplift of “I’ll Be.” As an added bonus, Sagacity includes a second disc, Saga Hits, where the band muscles through nine of its best-known songs during a set recorded at the SWR1 Rockarena in Ludwigshafen am Rhein, Germany on June 22, 2013 that includes the perennial powerhouses “On the Loose,” “Humble Stance,” and “Wind Him Up.” Lead vocalist Michael Sadler (with arms folded in the above band photo) and I recently got together to discuss modern-day recording logistics, the fine art of mixing, and some surround-sound wishes. As you’ll soon see, when it comes to having Sadler talk about harnessing great sound, once you wind him up, he can’t stop.

When someone says “invisible sound,” the first thing that comes to my mind is an in-wall/ceiling speaker hidden behind an inconspicuous grille. ClearView Audio has a different take on “invisible” with its stylish Clio Bluetooth speaker, which uses acrylic glass to create sound. No domes, no cones, except for a tiny 2-inch “woofer” hidden in the base that supports what you might call its sonic windshield. We asked CEO Stefen Bokamper to tell us about this unusual speaker.