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According to the Future of Wine report, drawn up by London-based wine merchants Berry Bros & Rudd (BBR), China, which is already the world’s sixth largest producer, will lead the world by the year 2058.

The report, which predicts the state of world of wine in 50 years, also says China will ‘rival the best of Bordeaux’.

‘I absolutely think China will be a fine wine player rivalling the best wines from France,’ said Jasper Morris MW. ‘It is entirely conceivable that, in such a vast country, there will be pockets of land with a terroir and micro-climate well suited to the production of top quality wines.’

Based on the opinions of its four Masters of Wine, the report also spelled out some encouraging predictions for lesser-known wine countries and stark warnings for other, bigger producers.

Climate change, it said, would favour eastern European countries such as Ukraine, Moldova, Croatia, Slovenia and Poland, as well as Canada, which, BBR said, ‘could rival its American neighbour’ the US.

The UK also stands to gain on its cross-channel neighbour, with the amount of English land devoted to wine production ‘may rival that of France’.

Australia would be the big loser, it said, with the country too hot and arid to support large areas of vine.

‘It will become a niche producer, concentrating on hand-crafted, terroir-driven, fine wine,’ said the report.

Tasmania, it added, would be one of the beneficiaries.

By 2058, ‘big brand booze’ would dominate the market, with wine resembling cigarettes. It will be commonplace, said the report, to ask for ‘Lindemans Light’ or ‘Waitrose White’.

‘In 50 years, consumers will ask for wine by the brand name of flavour and won’t know, or care, where it has come from,’ said Morris. ‘Grapes will be genetically modified to change a wine’s taste and producers will add artificial flavourings to create a style wanted by consumers.’

Further predicted changes included off-shore floating vineyards, low-calorie wines, bulk wine shipping and environmentally-friendly packaging replacing glass bottles.

Others in the industry were more sceptical of the findings. Decanter editor Guy Woodward was unconvinced.

‘While there’s no doubt that climate change and increased ambition in certain regions will lead to a greater variety of wines on the shelves, the idea that China is going to be able to go from churning out large volumes of mediocre plonk to challenging the great names of Bordeaux and Burgundy in a mere 50 years requires a leap of faith,’ he said. ‘Half a century is a very short time in the overall evolution of the wine world, and I’d like to see how many Chinese and Ukrainian wine Berry Bros has on its shelves in 2058.’

Henry Tang, a wealthy wine connoisseur, is the second in command in the Hong Kong administration.

Speaking on a visit to Paris , he said that since the lifting of import duties on wine into Hong Kong earlier this year, volumes were up by about 78% and values by 215%.

The figures apply to the period from 27 February - the start of the financial year in Hong Kong - to mid April, compared with the same period last year.

‘I hope French wine merchants will be attracted by the new opportunities that duty free trade will undoubtedly bring, and help make Hong Kong the centre of wine distribution in Asia,’ Tang said in a lunchtime speech at the Hong Kong Trade Development Council in Paris on Wednesday.

Hong Kong already has a good location, transport and logistics infrastructure and experience in promoting, storing and distributing wine, Tang said.

What was needed was more wine education, he added.

A spokesperson for the Brussels based Hong Kong Economic and Trade Office, Linda Sansbury, also said it seemed clear there was a role for Hong Kong to play as a wine hub.

‘We understand that about 20% of fine wine that goes into London goes on to Hong Kong , which means there is a demand,’ Sansbury said.

The Bordeaux elite descended on Hong Kong in force for last week’s Vinexpo Asia-Pacific.

Among the 692 exhibitors from 32 countries were countless celebrated names, notably numerous Bordeaux grandees, all keen to tap into the expected growth spawned by China’s emerging middle class.

Bordeaux proprietors and senior executives present were Frederic Engerer of Chateau Latour, Olivier Bernard of Domaine de Chevalier, Christian Seely of AXA Millesimes, Hubert de Bouard of Chateau Angelus and Gildas d’Ollone of Pichon Lalande.

They were joined by several big names from Burgundy, Italy and the Rhône.

By comparison, the New World was thin on the ground. While Chilean and Argentinian producers were prominent, the Australian, Californian and South African presence was notable by its absence.

A total of 7,879 visitors passed through Vinexpo’s doors on the first two days of the show, with organisers expecting this to exceed 8,500 by the third day. The figure represents a 24% increase on 2006, the last time the show was held in Asia.

The vast majority of visitors were from Hong Kong, Macau and China, followed by Korea, Taiwan, Japan and Singapore.

The Hong Kong and Chinese market is buoyant. Nicholas Pegna, managing director of Berry Bros in Hong Kong, said the last financial year, 2007-08, was a record in terms of sales.

But this year, he said, surpassed even that. ‘In the eight weeks from April to now we have done as much business as in five months last year.’

In those two months turnover for BBR had been more than US$35m, 80% of it fine Bordeaux and Burgundy.

At Vinexpo the Bordelais laid on several tastings for an enthusiastic crowd, with many St-Emilion and Médoc classed growths running out of wine barely halfway through the events.

The Cercle de Rive Droite, the Alliance de Cru Bourgeois and the Alsace and Sauternes generic bodies also held packed tastings.

‘The level of interest is astonishing,’ said Comte Stephan von Neipperg of Canon La Gaffelière. ‘But the level of knowledge has some way to go to match it.’

The chief secretary for the Hong Kong administration, Henry Tang, a known wine collector, opened Vinexpo Asia-Pacific, claiming, ‘We have ample appetite to become the leading wine trading and distribution centre in Asia.’

India is heading for a Wine revolution and consumption will triple within the next three years. An overview of changes in production in 28 countries and consumption in 114 markets over a ten-year period augurs well for the wine industry-specifically in Asia.

To start with, the outlook for India in the wine market has been seen as-at the least- very promising.

Amitabh Joshi reports on the changing trends in wine consumption worldwide and specifically India.

India fine on wine

In India, the annual consumption of grape-based wine was estimated at 66,000 hectolitres in 2006, equivalent to 8 million bottles, which was four times more than in 2002 (up 312.5%). It is expected to triple again by 2011 and to reach 188,000 hectolitres.

According to a study commissioned by Vinexpo and carried out by British consultancy, the International Wine and Spirits Record (IWSR), this rapid growth trend of around 30% per year corresponds to the strong growth observed in the economy and tourism sector.

However, in comparison to its size, India’s consumption is still quite low.

“While it has the second largest population in the world and will soon catch up with China in terms of demographic density, India is only the 77th greatest consumer of wine in the world, despite improved growth in consumption over the past five years”, says Vinexpo Asia-Pacific chief ,Robert Beynat .

Almost a quarter of still light wines drunk are imported. In 2006, consumption of locally produced wines represented 45,000 hectolitres or 75% of all grape-based wines consumed in India.

The Vinexpo/IWSR study forecasts similar growth in the consumption of imported and domestic wines between 2006 and 2011 (180% for the former and 197.7% for the latter), which indicates how open the market is.

Having supplied 41.7% of all wines imported into India in 2006, France remains the leading supplier of still light wines to the sub-continent.

Australia and the US in second and third position, respectively, have seen substantial growth in their export volumes.

Opening bottlenecks

Despite the bright lights the study is shining on the country’s wine map, it seems the biggest challenge for India remains the poor storage and transport facilities in a tropical climate. Add to this the restrictions on direct promotional activities, along with fluctuating state taxation and distribution policies- and you have the proverbial bottleneck.

In fact, awareness of the health benefits of wine is practically non-existent. Interestingly, the biggest wine consumption of up to 80 per cent is confined to major cities like Mumbai, Delhi, Bangalore and the tourist destination of Goa. The rest of India has only 20 per cent consumption-and that would seem to be the huge hidden potential for the market players. Already, Grover Vineyards and Sula Vineyards are keeping up with world standards and are producing fine quality wines which are even exported.
Nobody is missing out on the fact that Indian society is changing. Lifestyles in urban areas and even some semi-urban pockets are developing. People are travelling abroad more frequently and women-seen as a major wine-consuming force-are growing in the work force-especially in the echelons of the corporate world.
While the industry walks a thin line between policies at cross-purposes, the government’s once-stated domestic promotion strategy for Indian wines included studying the internal support mechanisms and considering easing tariff barriers. And India is still keen to target the US, the European Union, South Africa and Southeast Asia for its international sale of wines.

Asia’s big billion

“Wine consumption in Asia overall has touched an all-time high”, says Vinexpo Asia-Pacific Chairman, Dominique Hériard Dubreui. Research says that for the first time in 2006, the consumption of grape-based wines (in a market where other fruit- and rice-based wines are traditionally consumed in high quantities) reached 8.009 million hectolitres or 1.07 billion bottles, an increase of 21.14 per cent compared to 2002.

The region accounted for comprised China, Hong Kong, Japan, South Korea, Singapore, India, Taiwan, Thailand, the Philippines, Vietnam and Malaysia.

Revised forecasts for growth in consumption have gone upwards for the period up to 2011, predicting a figure of 11.856 million hectolitres in 5 years time, representing overall growth of 48% between 2006 and 2011.

This consumption growth rate is in effect double that of the period 2002 – 2006 and is a record 8 times faster than the rest of the world.

By 2011, Asia will account for 4.8 per cent of world wine consumption.

Gulping giants

Japan remains the leading consumer country of imported wines in Asia.

Japan alone accounted for 57.6 per cent of the total volume of wine imported throughout the region in 2006. Between 2002 and 2006, Japan’s imports decreased by 5.3 per cent, but Mr Beynat and Mrs Dubreui say theVinexpo/IWSR study predicts a turnaround in imports between 2006 and 2011 with 9.4 per cent growth over the period.

In 2006, wine consumption in China (including Hong-Kong) accounted for 62.7 per cent of all the wine drunk in Asia. This will increase by 69.2 per cent between 2006 and 2011 to reach 8.11 million hectolitres.

In the 2006-to-2011 period, China will progress from being the 10th to the 8th largest still wine consuming nation in the world, moving ahead of Russia and Romania.

France, the second largest wine exporting country in the world, is the main supplier of the Asian countries accounting for 39.6 per cent of all wines imported into the region in 2006, beating the US into second place in 2006 and ahead of Italy, Australia and Chile.

The big picture

World wine consumption increases regularly and 318.4 million more bottles are consumed every year.

World consumption of “grape-based” still and sparkling wines reached 230.12 million hectolitres in 2006, which is equivalent to 30.7 billion bottles drunk per year.

Between 2006 and 2011, wine consumption is expected to grow by 6.2 per cent to reach 244.52 million hectolitres. Over ten years, therefore, world consumption should increase by 10.8 per cent.

92.8 per cent of wines drunk in the world are still light wines. However, between 2002 and 2011, consumption of sparkling wines will grow twice as fast as that of still wines (2.3 per cent per year).

An interesting facet which underlines the increasing buying power of the average citizen is that worldwide wine turnover is growing twice as fast as consumption in terms of volume.

Sales reached $108.83 billion in 2006, up 9.7 per cent compared to 2002. The trend will continue with growth of 10.8 per cent between 2006 and 2011, representing an overall 21.5 per cent increase in ten years. And no surprises here-the United States will be the leading consumer nation of still wines by 2011.

American drinkers should be downing 27.97 million hectolitres of still wine by 2011, or 3.73 billion bottles.

The US is already the leading world market in terms of what wine drinkers spend, which exceeded the $20-billion mark for the first time in 2006.

France, which at present is the leading wine consuming nation in the world, will only be in third position in 5 years time with its consumption sinking below 27 million hectolitres. Italy, however will maintain its second place in the world wine consumption stakes.

China and Russia continue to return the highest growth figures in wine consumption.

The Chinese consumption figures registered a growth of 36.6 per cent between 2002 and 2006 to reach 4.79 million hectolitres with a further massive increase of 69.2 per cent in the period 2006 to 2011.

About VineExpo

Vinexpo Asia-Pacific 2008: Heading for the big show
Vinexpo heads to Hong Kong on 27, 28 and 29 May 2008 to hold its seventh exhibition outside France at the Hong Kong Convention and Exhibition Centre.

Heralding the event and on a promotional tour to India were Mrs. Dominique Hériard Dubreuil, Chairman, Vinexpo Asia-Pacific & Mr. Robert Beynat, Chief Executive, Vinexpo Asia Pacific. They were in New Delhi during mid-March, during which they also shared the latest trends in the market.

Vinexpo Asia-Pacific, the International Wine and Spirits Exhibition for Asia-Pacific, is seen as the benchmark event in the region.

Major wine and spirits companies worldwide will be there to offer an exclusive display of their products to professional visitors from the 18 Asia-Pacific countries.

Growing interest in the Asian markets is attracting wine and spirits companies from all over the world. Expectations are high, at par with the outlook for economic growth in the region. All studies show that potential growth in the wine market in the next five years is strongest in Asia with more than 9% annual growth forecast, compared to a world average of 1%.

The layout of the 7,000 sq. m of stands in Vinexpo Asia-Pacific is being finalised. The producing countries will be attending: France, Italy, Spain, US, South Africa, Germany, Chile, UK, Portugal, China, Argentina etc.

Henkell & Söhnlein Sektkellereien (Germany), Dynasty Fine Wines (China), Santa Rita (Chile), Marques de Caceres (Spain), Banfi Distribuzione (Italy), Santa Margherita (Italy), Baarsma Wine Group (Netherlands), Sogrape (Portugal) feature amongst the major international names that will be present.

France will be well represented. As in 2006, a 1,000-sq. m. French Pavilion run by Sopexa will host a number of French winegrowing companies. Beside this French area, big names which have already confirmed participation include: Baron Philippe de Rothschild, Lanson International, Castel Frères, Maison Louis Latour, Les Grands Chais de France, Jadot, Champagne Thienot, CVBG Dourthe Kressmann and Rémy Cointreau.

The Vinexpo Asia-Pacific “University” that is organised alongside the show is an added attraction.

Exhibitors and national and regional promotional organisations will be the prime organisers of events here, which include seminars and tasting sessions.

Verona, the city of Romeo and Juliet, becomes the setting of another legendary love story: Vinitaly.

Vinitaly is the landmark event for the Italian and international wine world. The largest wine show in the world has progressively and increasingly become a mainstay even on an international scale by welcoming innovations and appealing to operators not only as a trade exhibition but also as a full-scale reference “event”.

The visit to VINITALY provides an opportunity to learn more about Italian wines through tastings and discussions, to meet Italy’s leading wine makers and to establish new business relationships with producers for those who are interested.

Italy is a treasure trove for the wine lover. If you are a fan of international varieties like Chardonnay, Sauvignon Blanc, Cabernet, Merlot, Syrah, Pinot Noir, etc., you’ll find plenty to please you. If you like to try indigenous varieties, you won’t have to look too hard to find something to pique your interest, whether it’s a Nebbiolo, Barbera or Dolcetto from Piemonte; a Teroldego, Marzemina or Lagrein from Trentino; a Montepulciano from Abruzzo; an Aglianico from Campania; a Primitivo, Negramaro or Malvasia Nera from Puglia; or a Nero d’Avola from Sicily.

This year it was six memorable days from April 3rd to April 7th in Verona and a dream come true for me to attend VINITALY, the largest and most comprehensive international wine exhibition for the trade, with more than 4,500 exhibitors from 31 countries and more than 140,000 visitors from around the world, offering more than 70,000 square meters of stand space. Over 160 wine manufacturers with a long history of wine making attended from Italy. And as never before - since it is the only show focusing on all the needs of all operators in the field: producers, importers, distributors, caterers, technicians, journalists and opinion leaders.

This role has been developed over forty years of activity by accompanying the development of a sector that in turn has become the best ambassador of “Made in Italy” worldwide as the flagship of excellence in the quality agro-foods system.

VinItaly embraces traditional appointments alongside several innovative events designed to involve operators from all over the world. The impressive line-up includes: Tasting Express - international wines presented by leading wine-sector magazines; Taste & Dream - great historical Italian wines; Trendy today, Big tomorrow - selected companies investing in the future; Taste Italy, the tasting of “Lista dei Buoni 2006″ wines presented to 5000 foreigners journalists and buyers; Designer Restaurants - outstanding performances by the best Italian chefs; Citadel of Gastronomy - interpreting the best regional Italian cuisine; the Haute Cuisine Area, trait d’union among High Gastronomy, Oil and Wine world; JRE On Tour Restaurant: every day three different chefs propose a special menu, while close circuits monitors show the “back stage” during cooking.

Though there’s lots to taste, unfortunately, the show’s timing is horrid, falling at bottling time, which means that most of the wines being poured are freshly bottled, shocked to death, and very closed — or they’re barrel samples. Barrel samples are unfiltered and therefore not nearly as likely to be shocked (though they do get shaken up in getting to Verona). Their bouquets tend to be badly skewed, showing a strong predominance of oak if it was used, while the fruity/floral aromas that develop in the reducing environment of the bottle are weak or simply not there yet.

I got to visit many wineries, some of them with history of over 150 years. Marco Felluga, Bertani, Maculan were undoubtedly my favourites. Maculan winery is situated in the hills north of Venice. Fausto Maculan has done an amazing job. They are famous for their dessert wines; Dindarello and Torcolato can stand firm against the world’s best. Even his reds Fratta and Crosaro are exceptionally great ones. 1994 Le Lave was my favorite amongst the white, an unique blend of Chardonnay and Garganega grapes.

I even got a chance to visit Jacob Poli the great Grappa makers; where one can feel time has stopped, the visit to the Jacop Poli was one of my cherished moments.

I must say the wines made in this era are better ones and easily liked by consumers. The major reason behind such great results is the technology used for viticulture and vinification.

Of the countless wines I tasted in the fair I can count on my fingers few I may have disliked. Wines were like stars unlimited, each portraying its culture and terroir. Fascinating at times, I think, as its all coming from a small fruit called grape.

For a wine lover like me a country like Italy can offer a lot. What more can I say when you know they grow over thousand indigenous grapes apart from the classic ones. Undoubtedly, Italy has lots more to offer than any other Wine growing country in the World.

The magic of vinyl has worked its way into the hearts of music lovers.

DID we see it coming? Probably not and even the sternest of analogue scribes would not have been able to foretell its recent uprising. But that’s really what’s happening at the moment.

Believe it or not, 20 odd years after it was claimed that the vinyl LP (long play) had passed its use-by-date, records are returning … and in a big way, too.

Nope, we’re not talking about having to scour some dingy storeroom of a former collector, or turning up at thrift shops or second-hand stores to pore over a mouldy selection of titles. We’re talking about brand new records (by present mainstream artistes, even) pressed and shipped to music stores for the current generation.

Just imagine, while we’re so far ahead in the digital domain – even the longevity of the CD has been severely threatened, and downloads continue to be the rage and predominant way of listening to music – the LP record has plotted a course right back into the consciousness of the music listener.

Sure, well-maintained, used records can be found in specialist hi-fi shops but finding the latest titles in regular music stores has been an alien concept. But that might all change soon enough. In fact, you can already find titles at MPH and Tower Records these days.

Supersize me: The smaller artwork on CD sleeves can barely compare to that of the vinyl LP.

The rising tide

The global conglomerate Amazon.com – which arguably has the most extensive CD inventory – launched its own LP record inventory last October, increasing its selection to 150,000 titles across 20 genres. It’s obvious there is money to be made here, which is why Amazon has embarked on this venture.

According to Nielsen Soundscan (an information system that tracks sales of music and music video products throughout the United States and Canada), record sales in the US represent a fraction of total album sales at 0.2%, compared to 10% for digital downloads and 89.7% for CDs. These figures could be grossly misinterpreted since LPs’ turnover tends to be greater at smaller indie outlets where they do better than CDs. Even then, a staggering 990,000 vinyl LPs were sold last year, up 15.4% from the 858,000 snapped up in 2006.

The percentage of sales increase of LP records has exceeded that of the CD today with WEA Corp, the American distribution company for Warner Music Group, reporting a 30% increase in LP sales last year. The sale of vinyl records has soared six-fold between 2001 and 2005. Artistes like Arctic Monkeys, the Raconteurs and Pete Doherty now outsell CDs by more than two to one, reports Virgin Megastores.

Apparently, a large population of purchasers include the younger generation, who probably never saw, held or played a record in its heyday. Yup, dusting off Dad’s old record spinner has yielded quite a few thrills.

Sure, audiophiles or listeners a little more serious on the sonic side of things have rarely veered from their analogue allegiance, but this is clearly a time for the converts.

Does this mean the once ubiquitous compact cassette could be the main format once again? Hardly likely, given its finite life span, what with its deteriorating tape oxide and all.

So the question that begs to be asked is, how can a format that was considered inferior to the compact disc’s exquisite digital technology be making waves once again?

The revolution: Some 20 years after it was claimed that the vinyl LP had passed its use-by-date, records are returning … and in a big way, too.

Personal notes

The advent of technology has always yielded backlashes. Take, for example, the music-making process: musicians are returning to vintage musical instruments and recording techniques for audio recordings these days. The vinyl revolution is no different and there are sound reasons for this.

Though this may be a hotly debated topic, an LP in good condition sounds warmer and provides greater ambient detail in recordings compared to CDs or digital downloads. It’s also a commonly known fact that MP3 files produce thinner sounds, especially when they are compressed into a lower resolution.

When it comes to artwork, there is just no comparison between what you’d find on a CD sleeve and an LP equivalent. Yes, size does matter. A larger surface naturally means more details on the artwork and some LPs are truly sights to behold.

And compared to downloads, by owning an LP, you get the sense of owning a piece of the artiste – represented by the record, the sleeve and details on the liner notes like the period during which the album was recorded, the musicians involved, the people behind the production, the instruments used, lyrics … minute details to some but indispensable information for the serious music enthusiast.

The vinyl LP has made itself the only one true high definition audio format. Cast a blind eye on the failed and now dead SACD and the “plodding along” DVD-A format.

The great news for new collectors is, unless you favour schmaltzy late 1990s pop, you can pretty much get any title on LP – used or brand new.

Of course, LPs will never win in the “convenience” argument. Records attract dust and grime, will not allow you to skip tracks, and forces a listener to get off his seat to flip sides every 20-odd minutes or so, but the “feel” it imbues is worth it.

THE majority of the current generation listen to music through digital means, be it via the ubiquitous compact disc or downloads. That’s pretty much the scenario here anyway, but while it is a rare breed, a younger crop of listeners has been enlightened by the sight and sound of the analogue LP record.

Hard to fathom, perhaps, but three discerning music listeners share their fascination and love for the vinyl record.

Guitarist Smack, 26, of new post-punk local outfit Killur Calculateur got into records when he was introduced to the format during a gigging tour of Europe. “The vinyl culture is really big there. All the new bands make vinyl pressings of their albums and thus was born my appreciation for it,” he says.

The situation wasn’t too dissimilar for 30-year-old sales executive Boon Tan. “I got into it seven years ago while I was working with an event organiser and record store. They mainly carry electronica titles; this was when my collection began. I am not a collector and don’t usually go for out-of-print titles. I collect what I like. I’m just an enthusiast,” he says.

EJ, a 27-year-old working in the entertainment industry, was influenced by what he had read in hi-fi forums. “They talked about the so-called vinyl magic and how people actually enjoyed music better on vinyl. So I bought my first TT Goldring (cartridge) and progressed from there,” he reveals.

Record collector Smack: ‘All the new bands (in Europe) make vinyl pressings of their albums and thus was born my appreciation for it.’

Works of art

Quality sound is perhaps the most common (and obvious) reason for vinyl indulgence, but there are other quantifiable aspects to the experience that contribute just as significantly to the joys of the format. Due to the sheer size of the artwork, LP record covers are stunning works of art. And the liner notes and gatefold (folded covers) sleeve designs are just as inviting.

“The whole vinyl experience is something else … it’s the whole package. From the crackles at the start of the record and the warmth of the sound, it truly needs to be experienced,” Smack insists.

“Yes, the bigger artwork is extremely attractive, especially on classical and jazz records, where the liner notes are also lengthy and interesting,” echoes Boon.

“There is pleasure in making the effort to play an LP. I remember furiously rewinding out cassettes to hear a particular part in a song. Call it mental placebo, but LPs make you pay attention to stuff,” EJ suggests.

Titles

Smack’s listening diet on records includes screamo bands, hardcore and more. “I also listen to Portishead and alt-country stuff like Ryan Adams and Wilco,” he says.

Boon’s sonic taste buds opt for something different. “I’m open to all kinds of music but classical and jazz are my preference.”

It’s basically rock for EJ. “I don’t make a distinction but I tend to listen to rock the most. 1980s pop and motion picture soundtracks would probably be next in line. LPs I will probably play until I drop dead include The Libertines, The Cars’ Candy-O, David Bowie’s Ziggy Stardust and Portishead’s Roseland NYC Live.”

Record buying is highly enjoyable and Smack says he’s prepared to go either second-hand or brand-new. “It depends on availability. I’ve ordered on the Internet before and I’ve also gone to Amcorp Mall (in Petaling Jaya) to buy second-hand ones.”

Likewise Boon says: “Usually jazz and classical records are out of print and labels seldom want to reissue old titles on vinyl. But with some of the new bands, you can actually get new pressings.”

Converts

Collecting records can be a life-long endeavour and every collector works at his own pace. Smack has 20 odd titles in his collection while Boon is the proud owner of a 300-piece collection. “As of now, I have around 50,” shares EJ.

While any turntable is capable of playing records, the more discerning tend to favour belt-driven players. Smack opts for an old JVC while Boon has complete faith in his Technics SL 1200. “I use an entry-level Clearaudio with Goldring cartridge,” EJ enthuses.

Given their respective ages, it’s not surprising that all three were avid CD and cassette fans before arriving at their vinyl allegiance. “I am an 80s kid, so naturally, I listened to both formats,” Boon owns up.

While it’s not obvious, EJ has a theory on why vinyl might be reaching out to the younger audiences. “For the locals, I generally think they are either in pursuit of better sounding material or are playing it as a novelty. With listeners in the US, it’s probably the former. It also helps that used records are more affordable there; at least that’s the impression I get from reading the forum threads. It’s a fun and affordable way of discovering music.”

Smack has his own take on the situation, though. “Because certain bands are releasing LP titles first, fans want that sense of exclusivity and cult-type following. Bands like The Mars Volta have also released LP versions of their albums which are different from the CD, and fans want this uniqueness.”

NOTHING quite like getting the low-down on all things vinyl from a seasoned collector, and that Adrian Wong certainly is. In fact, he runs his own specialist hi-fi store, Audio Image in Petaling Jaya, with his main wares being those of the analogue realm … yes, LP records and turntables.

It is said, for example, that when a brand new record and CD of identical title are compared on modest systems, sonically, the LP is bound to come up tops.

“I suppose it is right to say records sound euphonically superior to the more clinical-sounding CDs, but records are obviously not in the forefront. CDs have greater potential in retaining bass information whereas records capture the air and finer details better. As for collectors like us, we also know which records sound good, so we naturally spend more time listening to them than the poorer pressed ones,” reveals Wong.

Records have survived all these years because of their durability.

“Records do not deteriorate with age. They will still sound good 100 years from now. CDs do not provide perfect sound forever; I’m sure you’ve seen ones with worm-like lines in which the aluminium foil has been eaten away. Records have stood the test of time.”

Wong also reveals that the highest-paying industry in the 1950s in America was the music industry. Some of the greatest think tanks were scientists and engineers, especially those working on sound. And when NASA was formed in the 1960s, all of them went over.

“That’s why recordings from this period are virtually incomparable,” he explains.

If sonic details remain contentious, then there can be no doubt that there’s something more exciting about looking at an LP cover than CD.

“LP covers are so beautiful, partly because the artwork is so much bigger and you get to see more detail. The inner sleeve and liner notes provide a wealth of information as well.”

You’re not going to find the finest detail on all CD sleeves or music downloads, especially info like the engineer involved in the recordings (down to the tape machine operators, even) or the season in the year the band recorded the album. Apparently, even LP covers (minus the record) go for sale.

Pushing sales

But this whole vinyl rebirth is more than just about nostalgia or attractive artwork. It all boils down to sound, and surprisingly, it’s the younger generation (perhaps a backlash of the iPod brigade?) who are pushing sales figures over the edge.

“People getting into vinyl are obviously serious about sound. The titles that move quickest with the younger people are indie band titles. That perhaps explains why a lot of bands release LP titles first, before making CDs and downloads available, because most listeners would like to listen to something before anyone else. This definitely plays a part in LP sales picking up.”

Although this is all much more than a fad, Wong feels LP records will never become the predominant format it once was.

“There are already new formats, particularly digital downloads. Besides, space is at a premium, so if you think CDs take up space, LPs take up even more,” he concedes.

One thing’s for sure though, turntable sales have sky-rocketed. In fact, turntable manufacturer Rega has sold 10 times more turntables recently than it did 10 years ago.

“The resurgence in turntable sales can only be good news.”

Wong provides a brief but useful buying guide for records and turntables:

Records

• Always try to buy a record of an artiste from the artiste’s country of origin. This is because the artiste’s label will have access to the first generation master copy, from which other LPs are cut.
• Look at the spindle marks (the hole at the centre of a record) and condition of the record. Scratched records and ones with numerous spindle marks will indicate how frequently they have been played.
• Go for widely spaced grooves on records (which means records with minimal playing time per side). Widely spaced grooves sound better.

Turntables

• Choose a belt-drive turntable over a direct-drive as it sounds better.
• The turntable’s tone arm should have anti-skating compensation device to reduce tracking error.
• Get an MM (moving magnet) cartridge, as it is easier to achieve good sound because it is more forgiving compared to an MC (moving coil) cartridge.
• Opt for a turntable with 33 1/3 and 45rpm playback capability.