Behind the Lens

THE
ORGANISATION
The world-class speaker
manufacturer you
probably never heard of.
Until now.
Why does anyone start a loudspeaker company?
Good question. Ignoring the obvious answer (because they’re nuts), it might just be because
they felt compelled to.
Dali’s first designs were originally created for a Danish hifi store. This retailer
wasn’t entirely happy with the loudspeakers then availables, so they decided to
build their own.
You’re thinking what does a retailer know about manufacturing, right?
Well, actually, quite a lot as it turns out.
Three decades later, Dali are one of the world’s leading loudspeaker manufacturers, with a list
of international awards the envy of their industry, including several from EISA (The European
Imaging and Sound Association), voted for by expert journalists from over 20 countries.
More importantly, European music lovers are huge fans too, which explains why Dali has sold
over a million pairs of loudspeakers to date.
Dali control every stage of the design & production process, while drivers, crossovers and the
cabinets themselves are engineered in-house.
At Dali the company motto states, ‘In admiration of music.’
And now you can discover why we think you’ll be hearing a lot more about Dali at one of our
network of carefully selected dealers.
Stereo
Lifestyle
Home Cinema
Wireless
& Active
Speaker Systems
The Sound Organisation • facebook.com/TheSoundOrganisation
• call: 972.234.0182 • email: info@soundorg.com • website: soundorg.com
Exclusive US distributors of : Arcam • Certon Systems • Chord Company • Dali • PMC • Quadraspire • Rega • Wilson Benesch
Everything, from sound bleed to
producer comments to Dylan announcing
oft-humorous titles for inprogress
songs, comes through with
startling clarity and detail.
Nothing gets conveyed with
more power, certainty, and depth
than the chemistry, lyrical vision,
and musical profundity on display
in sessions that occurred inside a
mind-boggling 15-month period. The
disclosures are myriad; the delights
innumerable. Hearing Dylan shape
structures, juggle tempos, change
words, experiment with different
styles, alter his pitch, graft previous
ideas onto new arrangements, and
verbally interact with his producers
happens with such frequency,
picking out individual highlights
amounts to a superfluous exercise.
Equally astonishing is the absence
of multiple versions of certain Dylan
standards. “It’s Alright, Ma (I’m Only
Bleeding),” for example, required just
two takes. By contrast, “Visions of
Johanna,” profiled here via five different
takes recorded with the Hawks,
demonstrates why Dylan needed the
versatility and proficiency afforded
by the Nashville musicians he utilized
after decamping from New York in
1966.
Still, even given the aforementioned
treatment afforded “Like a
Rolling Stone,” The Cutting Edge
1965-1966 isn’t about how trial and
error led Dylan to find the desired
meter and key for “Desolation Row”
or how fits and starts with rhythmic
patterns, interludes, and varied instrumentation
ultimately birthed the
version of “Stuck Inside of Mobile
With the Memphis Blues Again”
found on Blonde on Blonde.
(continued)
©Photo by Don Hunstein
MUSIC
November 2015 59