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Half a lifetime ago, I was the youthful editor of another hi-fi magazine in the UK. One day in 1979, I was visited by a senior executive from Goodmans, who explained that the firm’s next hi-fi speaker range would not be built in its own British factory, but would be bought in from Jamo of Denmark. It was a sign of the times for the company which, in the 1950s, had been ‘Europe’s largest Manufacturer and the World’s largest Exporters of High Fidelity Loudspeakers’.

I was particularly interested to read the recent review of the Technics SL-1200GR2 [HFN Sep ’24]. This is because for a very long time I’ve owned and been happily using a much earlier example of the direct-drive breed. I can’t now recall exactly when I bought it, but I’ve had a Panasonic/Technics SL-1500 turntable and arm with a Shure V15 series cartridge since about 1973. And it has continued to deliver good performance for about half a century!

The main sign of the SL-1500’s age after so many decades of use is that the small rotary potentiometer, which tweaks the rotation speed, has developed a ‘burn spot’ just at the place that sets 33.33rpm. This means that, nowadays, I have to let the deck run for about a quarter of an hour before use and then check if the speed has settled down correctly, or needs a slight tweak.

We need to talk about Freely. Why? Because it’s a clear pointer to the future of radio. Broadcasters are already planning for a time when TV and radio are delivered as an IP Internet stream and not a linear over-the-air transmission. Hence the BBC’s huge investment in its iPlayer and Sounds streaming services.

About a year ago the writer, editor and founder of Rolling Stone magazine Jann Wenner was unceremoniously booted off the Rock & Roll Hall Of Fame Foundation board of directors. His misdemeanour? In an interview with the New York Times about his new book The Masters, featuring conversations he’d conducted with artists such as John Lennon, Bob Dylan, Mick Jagger, etc, he claimed that he’d decided not to include any women or black artists because, ‘none of them were articulate enough on this intellectual level’.