For sentimental reasons - AUDIOFILE By Val A. Villanueva

Tag : Splice Boxes


The devolution from digital to analog in music playback has provedto be such a global phenomenon that even kids as young as 13 havestarted to bring out of storage their fathers’ turntables,dusting them off to put them back in the groove.

US broadsheets and music magazines now report overenthusiasticvinyl fans rummaging through boxes of old records in flea marketsand haggling for the best prices.

Here, prices of vinyl have gone up considerably, from P300 twoyears ago to as much as P1,500 today, and we’re only talkingabout ordinary pressings. Audiophile-grade vinyl can fetch as muchas P8,000 to P15,000. But what is it really that afflictsaudiophiles worldwide, driving the analog renaissance to a feverpitch?

There are those who do it for sentimental reasons: they want toreclaim a piece of their past. The majority, though, seem to beafter sound quality and the thrill of making new discoveries out ofthese “large black round things” that were previouslyconsigned to oblivion.

In an e-mail, orthopedic surgeon Dr. Lito Gozum shares hisexperience and what he has unearthed in his other life as atrue-blooded vinyl junkie:

“Among audiophiles, a subset consists of those who preferanalog playback, which means records and turntables. Before theubiquitous iPod and other MP3 players, which keep one lost in hispersonal music choices and oblivious to the outside world, therewas an era when 45 RPM records, 78s and 33s were the de facto meansof playing recorded music. Back then, playing a record was a socialevent meant to be shared with family and friends.

Abona fide record collector is best known in the audiophile circlesas ‘a great white vinyl shark’ or Carcharodoncarcharias vinylismus. Some collectors are of

the eat-all-you-can type, gobbling up everything in sight; many aregenre specialists in classical music, rock, pop, standards andjazz, among others. For most collectors, the thrill of the huntlies in finding a rare gem among the flotsam in the great vinylsea. I still remember the joy I felt when I found a mint pressingof Julie London’s Julie Is Her Name ( Liberty ) or Frank Sinatra’s Francis Albert Sinatra Sings Jobim(Reprise).

“Yes, I know that analog playback requires more involvementcompared to playing the much smaller silver CDs or pushing thebuttons of an iPod. A record with no visible damage may haveannoying ‘ticks and pops’ when you play it, so I amalways filled with anxiety each time I play a record for the firsttime. Another source of angst is when I open a sealed LP, only todiscover that improper storage has warped the vinyl.

“Just a few decades ago, one had to hire a recording studio,book some session musicians and have the takes stored on analogtapes. From these, a record or vinyl would be pressed.

“These days, through modern technology, you can now recordmusic using a computer and some basic affordable recording gear inthe comfort of your home. It could even be a one-person affair: youjust computer-generate the background instrumentals and splice inyour voice, much like they do in mall-based recording booths. Picka song from a list, enter the booth and record your voice. Youleave with a CD copy of your recording.

“One day, while looking through a record hawker’s stashof vinyl, I came across a copy of Louie Jalbuena’sself-titled record. On the cover, you can see a gray-hairedgentleman crooning into a microphone. The photo on the back showshim relaxing on a lounging chair. The label contained no data aboutwhen and where the LP was recorded and pressed, but the list ofsongs recorded in the album intrigued me. So, for a measly P300, Iwent home with a mint pressing for both cover and vinyl.

“When I played the first track, I thought initially that itwas Vic Damone singing; you could hear it in the singer’sinflection and phrasing. But the more songs I played and the closerI listened, I realized that Louie Jalbuena was his own man, someonewho poured his heart and soul into each song. His rapport with hissession musicians was fantastic; it was as if they had beenperforming together forever. My personal favorites are his coversof Deep Purple and Two for the Road.

"In the back cover, Louie Jalbuena wrote that making thisrecord was something he had long wanted to do. He had only a fewcopies pressed to give away during a special occasion — hisbirthday, perhaps? Another friend was given the same record by afriend who received his copy during a party of Louie’s.Sadly, if the master tapes were never saved, then all remainingcopies become precious. I have played this record with fellowanalog audiophiles, on my hi-fi system or theirs, and theirreactions are always amazement, pleasure and approval. They allwant a copy of the LP for themselves; maybe even a 180-gram vinylreissue. In the still of my analog night, I ask myself: Who isLouie Jalbuena? I may never know."