I tend to attribute the considerable difference in sound to how each was mastered. My vinyl copy is the Nautilus half-speed master. This is an excellent classical recording featuring full orchestra. The microphone placement allows for a good blend of instruments, but still some detail of individual players.
Nearly everything on the Reference Recordings label is at least excellent at worst, and at best, spectacular. I recommend the entire library.
Twenty years ago, you would hear these songs floating out of every audio demo room at every trade show, especially CES. I believe this to be the definitive Roger Waters album, and the music is bizarre, powerful, and complex. There are so many little snippets in the mix; a baby crying, a telephone ringing, a television in the background, an old man speaking…and it all adds up to a rich aural landscape.
This is one album that must be listened to in Pro Logic II, no matter how much of a 2-channel purist you might be. Waters does goofy things with phase in the mix, and in PLIIx Music Mode, this album sounds like true quad, with discrete sounds coming from the sides and rear. Turn it up to hyperspace…. This is truly a unique recording. All the recordings appear to have been done in a big, clean, ambient space, utilizing a single-point stereo microphone placement. Both layers contain eclectic acoustic music ranging anywhere from heavenly to somewhat annoying.
As a hardcore audiophile, I think most of us would find more than half of the selections very worthwhile. You are more than welcome to disagree. The percussion and bass from — is jaw-dropping good, with great transients, clean bass, and a real feeling of musicians playing in a live space. This is the quintessential New Age recording, with interesting and intricate compositions, meticulously assembled, and masterfully played.
This CD is a compilation of piano trio recordings, all of which feature Harvey Mason on drums. The only flaw is something only another drummer would notice; the drum channels are reversed in the mix. I love it, Must Be The Music (Clubmix) - Various - Super Sound Libary Vol. 2 (Vinyl), and the recording is superb…so beat it, punk.
I hope to hear what some of your best audio demos are in your Must Be The Music (Clubmix) - Various - Super Sound Libary Vol. 2 (Vinyl) on our forum! Other sonic qualities like the proper size of the soundstage; the correct size, position and spacing of the instruments; counting members of the chorus etc. Listening to Music is not an "intellectual exercise". Further- For those readers interested in a more "in-depth" explanation and description of my sonic priorities, go to the "Priorities and Distinctions" section within The Reference Components.
Despite what has been written and proclaimed for years Must Be The Music (Clubmix) - Various - Super Sound Libary Vol. 2 (Vinyl) others, to the point of nausea, the correct tonal balance of a recording is not as important as the correct tonal balance of an audio component or "system". Why not?
There is no "absolutely correct tonal balance", it changes depending on where, and even when, the instrument, including a voice, is recorded. So when not if it is altered, slightly, in a recording, it is still well within the realm of normal, or "natural", and shouldn't draw attention to itself. However, a noticeable tonal alteration within a component or a system has very different implications. This circumstance will mean that every single piece of music played through that system will contain that same alteration, or "coloration".
The resulting sound will eventually become predictable and monotonouswhich are the deadly "enemies" of the appreciation and enjoyment of music. In effect, there is a major difference how a critical listener relates to something that lasts only 20 to 50 minutes, and something that is "permanent". Analogy- The taste of curry, weak or strong, is natural in an Indian restaurant, and something to look forward to, but what if even a little curry was in everything, all the time?
A person may eventually curse the day they first tasted it. That is why a typical recording, which must sound at least somewhat "different" from the others, is interesting, while a system with that exact same "difference", which would be audible on every single recording, will be the formula for an inevitable and profound discontent.
The audio system that I use to audition and evaluate these records is described in detail in the essay: My Audio System. It is an all-out, purist, minimalist system that was designed, built, dedicated and optimized exclusively for reproducing analog records.
The importance of the system chosen to evaluate records can not be overstated. In certain instances, the inherent quality of two LPs can actually be reversed within a system that is not performing at the highest level. The two LPs Must Be The Music (Clubmix) - Various - Super Sound Libary Vol. 2 (Vinyl) 1. John Klemmer-Touch-Mobile Fidelityand 2. It must be first noted that neither of these LPs is "demanding", in the sense that a Mahler symphony would be, since they're both "light Jazz", so the difference in power of the two amps was irrelevant.
Also, I didn't intend to compare the recording quality of these two records, it just ended up happening because of the totally unexpected initial results. It all started innocently This should not have been possible. This was my dilemma:.
My personal thoughts at the time were; "What the hell is going on here? How could I have been so wrong in assessing both LPs? Both of the records sounded better, but this time the Saudades LP "wiped the floor" with the Klemmer. The respective sonics were now the same as when I originally played the two LPs on my own system where almost all of the posted LP evaluations were made ; the Klemmer was still excellent, but the Saudades was simply incredible; a great record.
Just as I remembered. What could have happened that would mask the previously obvious qualitative differences between them? And to such an extent that their qualitative rankings were reversed?
I've long felt, and have now finally confirmed to my own satisfaction, that to hear, and appreciate, the finest recordings requires an audio system that does "the least harm" to the sonics. To achieve this goal requires an audio system with a simple, well executed and matched signal path.
Anything less will pervert the audio signal to such a degree that the subtle musical qualities, which distinguish "excellent" from "great" recordings, will essentially disappear. This will then leave only those relatively gross musical qualities which, depending on the peculiarities of the system, could be fortuitously enchanced or, just as likely, even further compromised.
Thus the inevitable result; fruitless and endless disputes about which recording is superior, based entirely on how well the recording matches the unique strengths and weaknesses of that particular audiophile's system.
It feel is very relevant to note that I paid for all the records you will read about, and many of them cost me "big bucks". I have never received any "complimentary" LPs, even during all the years I have been in the audio business. The best I have done is to receive wholesale prices and a few "demos" way back in the early s, when my former retail store sold new records.
In short: I don't owe anyone any "favors"and this objective perspective is reflected in my choices and descriptions of the LPs below. I am also not influenced by the "conventional wisdom" of "reviewers", collectors, "experts" and used record dealers concerning what labels or pressings are the most desirable.
Of course, some duplication of recordings is inevitable. I have discovered through very disappointing and sometimes costly experiences that the issues of greed, ego, ignorance, laziness, fear and common incompetence have been routine when other such lists and recommendations have been made public, especially concerning the subject of which pressings are most preferable.
One says 'This is Old, and therefore Good. Many readers are going to be surprised when they realize that this list unlike the TAS list is not dominated by all those now famous early classical records from the so-called "Golden Age" Mercury and RCA etc. In fact Not even one "famous original pressing" is on this list. This is not an "oversight" on my part.
I have owned a large number of these records. I have heard even more of these records; On many different occasions; Including many different pressings; And on many different systems. They are not here because they don't deserve to be here.
This is not the place to discuss in depth their numerous sonic shortcomings. High levels of distortion, 2. Inevitable sonic "veil", 3. Relentless "background" surface noises and 7. High "sound-floor". And the above even assumes that the record will be in mint undamaged condition, which is a rare, "best-case" scenario. In Must Be The Music (Clubmix) - Various - Super Sound Libary Vol. 2 (Vinyl), these early pressings almost always sound exactly like what they actually are: "Old Records". Fremer: " So the people that think the originals are the holy grail, those are the magic, they're mistaken?
Music Video. Celebrate Motown 60! Long Gone Lover - The Velvelettes. Song previews provided courtesy of iTunes. Walker, which was previously released on vinyl only. Motown can certainly be taken to task for issuing the same old stuff over and over again -- no matter how great it is, how many versions of Marvin Gaye's "What's Goin On" or of Motown's Top 20 singles does anybody really need?
Not so in this case. Cellarful of Motown is a double CD chock-full of soul classics that have remained virtually unheard since they were first recorded -- or, in some cases, relegated to the cutting room floor -- by Motown's front line artists, and many that should have been. We can thank the Northern soul underground in the U. Here are 40 tracks that were recorded in the glory days of the Detroit soul scene, but never issued at the time due to Berry Gordy's near-fascistic quality control.
And this is just a sampling. There are solid notes giving recording origins and personnel wherever possible, and some cool photos in the package with liner notes by Northern soul aficionado DJ and editor Paul Nixon, but the music is the treat here. When Holloway sings "All Your Love," the emotion in her voice is underscored by the giant string section and cracks the mix in two, wrenching every ounce of emotion from Frank Wilson's words.
When Chris Clark's pathos-ridden "Do I Love You NDeed I Do " cuts loose from the heart of a huge horn section and brings the message home in a raw, direct way; the feet will be two-steppin' even as the sultry need of the track moves deep into the solar plexus.
That this is followed by the stomp and swagger of the Contours' "Baby Hit and Run," with it's gospel chorus and the funk rhythms is almost too much to take. It's seriously enough to take your breath away. There is one theory as to why these tracks weren't issued at the time of their recording despite their obvious high and enduring quality.
Drumroll for Somersaults - The Martin Harley Band - Barebones EP (CD), Home Is Where My Heart Is, Ive Never Found A Man (To Love Me Like You Do) - Esther Phillips - Ive Never Found A Man / Cherry Re, Vivisector, Mideast Vacation - Neil Young - Lucky Thirteen (CD), Pressing On - D. J. Rogers - The Message Is Still The Same (Vinyl, LP, Album), The European Female (In Celebration Of) - The Stranglers - Feline (Vinyl, LP, Album), Talkover - Central Europe Performance - Breakfast In The Ruins (CD, Album), Its So Dirty, Bota Pra Gerar - Forró Calango Aceso - Vol. 11: Bota Pra Gerar (CD, Album), Chaghaybou - Tinariwen - Live In Paris (CD), Total Recall - Various - Rapology 14 (CD)