in this case, the 1993 AP pressing is the analog mastered original. the fact that's it's 180 gram is way down the list of performance factors.
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Most effective demo sound track ever
- Thread starter Imperial
- Start date
Back in the geezer days of the early 80s, at least in the West Coast stores I worked in, Crime of the Century was a 100% closing machine.
Yes been mulling over this, so many over the years to consider gonna narrow my thoughts down to a main few that make systems grovel ..
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The 1993 AP pressing is very good.
For those who want to listen to the song "Georgia On My Mind" from this 1993 AP pressing, can take it from the link below:
Ben Webster – Georgia On My Mind.wav
drive.google.com
Enjoy !
The 1993 AP pressing is very good.
For those who want to listen to the song "Georgia On My Mind" from this 1993 AP pressing, can take it from the link below:
Ben Webster – Georgia On My Mind.wav
Enjoy !
Thanks. It sounds very close to the digital version I have (OJC issue, with excellent sound as well). Interestingly, according to the liner notes, this album was first issued in mono, and stereo tapes were later found:
"The original LP release of this material was available only in mono, since the two reels of tape, which were assumed to be all that existed from the date, were mono only. Further exploration of the Contemporary tape vaults uncovered unopened cartons which contained not only the original stereo tapes of this recording session but, delightfully, four more tunes."
I would be curious to listen to the original mono LP. Regardless, the sound is very nice.
In the liner notes, another interesting read:
"Ben Webster, in 1960, had been living in Los Angeles for a few years, making recordings, playing in clubs, but not really getting anywhere, or even making any money. A warmly sentimental man (you can hear that in the sound of his horn), Ben was really in the area because he was devoted to his old aunt and his grandmother. They were not in good health, he worried constantly about them, and when they died, he moved on to New York, and then to Europe where he now lives, in Copenhagen. Ben wasn't really happy in Los Angeles except for the times, and they were not nearly as often as he wished, when he was playing with some of the superb musicians who understood him. I remember one afternoon shortly before he left Hollywood, Ben listened to the tape of "Georgia" in this album, and when it finished there were tears in his eyes. "Why can't I get to play with guys like that anymore?" "
From this period, in fact a month later, in November 1960, there is an excellent session with Johnny Hodges ("at the Jazz Cellar in San Francisco", but actually a studio session). Here is a lovely track from that session ("I'd Be There", also issued as "One For Duke" on some releases):
Ben Webster admired Johnny Hodges, and is in fact quoted as saying he wanted to sound on tenor like Hodges (who plays alto, and solos first on this track - and what a solo! though too brief...).
These guys were really "smooth operators". Mainstream jazz at its best
When we find music that really moves us, sound quality becomes secondary, but when we have both we can reach Nirvana!Here's a documentary about Ben Webster that is worth watching:
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Nik Baertsch Mobile "Continuum" Modul 29_14 either digital or vinyl
Dizzy Gillespie "The Great Modern Jazz Trumpet" track Olinga (on side 3 of the double LP)
Dire Straits first album tracks "Water of Love" or "Six Blade Knife"
Missa Criolla performed by Mercedes Sosa track Kyrie
Dizzy Gillespie "The Great Modern Jazz Trumpet" track Olinga (on side 3 of the double LP)
Dire Straits first album tracks "Water of Love" or "Six Blade Knife"
Missa Criolla performed by Mercedes Sosa track Kyrie
Thanks. It sounds very close to the digital version I have (OJC issue, with excellent sound as well). Interestingly, according to the liner notes, this album was first issued in mono, and stereo tapes were later found:
"The original LP release of this material was available only in mono, since the two reels of tape, which were assumed to be all that existed from the date, were mono only. Further exploration of the Contemporary tape vaults uncovered unopened cartons which contained not only the original stereo tapes of this recording session but, delightfully, four more tunes."
I would be curious to listen to the original mono LP. Regardless, the sound is very nice.
In the liner notes, another interesting read:
"Ben Webster, in 1960, had been living in Los Angeles for a few years, making recordings, playing in clubs, but not really getting anywhere, or even making any money. A warmly sentimental man (you can hear that in the sound of his horn), Ben was really in the area because he was devoted to his old aunt and his grandmother. They were not in good health, he worried constantly about them, and when they died, he moved on to New York, and then to Europe where he now lives, in Copenhagen. Ben wasn't really happy in Los Angeles except for the times, and they were not nearly as often as he wished, when he was playing with some of the superb musicians who understood him. I remember one afternoon shortly before he left Hollywood, Ben listened to the tape of "Georgia" in this album, and when it finished there were tears in his eyes. "Why can't I get to play with guys like that anymore?" "
From this period, in fact a month later, in November 1960, there is an excellent session with Johnny Hodges ("at the Jazz Cellar in San Francisco", but actually a studio session). Here is a lovely track from that session ("I'd Be There", also issued as "One For Duke" on some releases):
Ben Webster admired Johnny Hodges, and is in fact quoted as saying he wanted to sound on tenor like Hodges (who plays alto, and solos first on this track - and what a solo! though too brief...).
These guys were really "smooth operators". Mainstream jazz at its best
Here's a documentary about Ben Webster that is worth watching:
Thanks, I just ordered an original mono of this recording.
Your flac with that digital recording that you put here is not even close in terms of quality to my wav that I put before.Thanks. It sounds very close to the digital version I have (OJC issue, with excellent sound as well). Interestingly, according to the liner notes, this album was first issued in mono, and stereo tapes were later found:
"The original LP release of this material was available only in mono, since the two reels of tape, which were assumed to be all that existed from the date, were mono only. Further exploration of the Contemporary tape vaults uncovered unopened cartons which contained not only the original stereo tapes of this recording session but, delightfully, four more tunes."
I would be curious to listen to the original mono LP. Regardless, the sound is very nice.
In the liner notes, another interesting read:
"Ben Webster, in 1960, had been living in Los Angeles for a few years, making recordings, playing in clubs, but not really getting anywhere, or even making any money. A warmly sentimental man (you can hear that in the sound of his horn), Ben was really in the area because he was devoted to his old aunt and his grandmother. They were not in good health, he worried constantly about them, and when they died, he moved on to New York, and then to Europe where he now lives, in Copenhagen. Ben wasn't really happy in Los Angeles except for the times, and they were not nearly as often as he wished, when he was playing with some of the superb musicians who understood him. I remember one afternoon shortly before he left Hollywood, Ben listened to the tape of "Georgia" in this album, and when it finished there were tears in his eyes. "Why can't I get to play with guys like that anymore?" "
From this period, in fact a month later, in November 1960, there is an excellent session with Johnny Hodges ("at the Jazz Cellar in San Francisco", but actually a studio session). Here is a lovely track from that session ("I'd Be There", also issued as "One For Duke" on some releases):
Ben Webster admired Johnny Hodges, and is in fact quoted as saying he wanted to sound on tenor like Hodges (who plays alto, and solos first on this track - and what a solo! though too brief...).
These guys were really "smooth operators". Mainstream jazz at its best
Here's a documentary about Ben Webster that is worth watching:
The differences are enormous, like from heaven to earth.
Your flac with that digital recording you put here doesn't even come close in quality to my wav I put before.Thanks. It sounds very close to the digital version I have (OJC issue, with excellent sound as well). Interestingly, according to the liner notes, this album was first issued in mono, and stereo tapes were later found:
"The original LP release of this material was available only in mono, since the two reels of tape, which were assumed to be all that existed from the date, were mono only. Further exploration of the Contemporary tape vaults uncovered unopened cartons which contained not only the original stereo tapes of this recording session but, delightfully, four more tunes."
I would be curious to listen to the original mono LP. Regardless, the sound is very nice.
In the liner notes, another interesting read:
"Ben Webster, in 1960, had been living in Los Angeles for a few years, making recordings, playing in clubs, but not really getting anywhere, or even making any money. A warmly sentimental man (you can hear that in the sound of his horn), Ben was really in the area because he was devoted to his old aunt and his grandmother. They were not in good health, he worried constantly about them, and when they died, he moved on to New York, and then to Europe where he now lives, in Copenhagen. Ben wasn't really happy in Los Angeles except for the times, and they were not nearly as often as he wished, when he was playing with some of the superb musicians who understood him. I remember one afternoon shortly before he left Hollywood, Ben listened to the tape of "Georgia" in this album, and when it finished there were tears in his eyes. "Why can't I get to play with guys like that anymore?" "
From this period, in fact a month later, in November 1960, there is an excellent session with Johnny Hodges ("at the Jazz Cellar in San Francisco", but actually a studio session). Here is a lovely track from that session ("I'd Be There", also issued as "One For Duke" on some releases):
Ben Webster admired Johnny Hodges, and is in fact quoted as saying he wanted to sound on tenor like Hodges (who plays alto, and solos first on this track - and what a solo! though too brief...).
These guys were really "smooth operators". Mainstream jazz at its best
Here's a documentary about Ben Webster that is worth watching:
The differences are enormous, like from heaven to earth.
I did not say it was the same audio quality... I agree that "At The Jazz Cellar"'s recording quality is not as good as "At The Renaissance". I mentioned it because it is a recording of the same period, and it is interesting in the context of the liner notes (Webster talking about the quality of the musicians he played with).Your flac with that digital recording you put here doesn't even come close in quality to my wav I put before.
The differences are enormous, like from heaven to earth.
I mentioned that your file sounded close to a digital version I have, but that is the other album "at the Renaissance" - here is that file if you are curious to listen to the digital version (though this is off topic here, and "your mileage may vary" depending on your digital system):
Loading…
storage.googleapis.com
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So, lets go fun style and really unusual mixing.
This is a very troublesome layered mix with varying levels of sudden clarity and sudden opaqeness. I suspect phase flipped on some of the mixings of some of the parts making up the total 2-channel master. Flipped, then not flipped. On purpose? Could be.
Total caotica.
Try playing this one… dreadfull stuff, but can be quite revealing.
This is in the do not play category…
But also extremely revealing stuff.
You come across a real cocky shop, and they say:
It (the system) will play anything, what do you want to hear?
Well, I want to play this one. Loud please
This is a very troublesome layered mix with varying levels of sudden clarity and sudden opaqeness. I suspect phase flipped on some of the mixings of some of the parts making up the total 2-channel master. Flipped, then not flipped. On purpose? Could be.
Total caotica.
Try playing this one… dreadfull stuff, but can be quite revealing.
This is in the do not play category…
But also extremely revealing stuff.
You come across a real cocky shop, and they say:
It (the system) will play anything, what do you want to hear?
Well, I want to play this one. Loud please
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1. Lincoln Mayorga D2D Vol III - America
2. Carmina Burana - Telarc only
3. Beethoven 9th with Chorus , Solti - Decca or London FFRR .
4. Tchaikovsky 1812 - Mercury only
5. Charly Antolini D2D - Crash
6. Glen Miller D2D - Jimmy Henderson
7.The King James version - D2D Shefflied
8. Two Pianos on Broadway - Joshua Pierce /Dorothy Jonas
9. M&K Super sampler D2D
10. Charlie Bryd - D2D 45rpm
Regards
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Try and find “Sarafina “ HM was involved in the production , Digital version full Broadway production , a system killa for sure when played at realistic levels ..!
One of the most used Tracks in the nordic audioscene going back to 1999-2000 ish on shows and mentioned in numerous reviews is music by
Bo Stief dream machine
The more famed track is from 1999 and is called Heart, some of you might now about it, or you really should It is beautifull IF you have deep deep frequency capacity…
Link to cd on discog
Bo Stief dream machine
The more famed track is from 1999 and is called Heart, some of you might now about it, or you really should It is beautifull IF you have deep deep frequency capacity…
Link to cd on discog
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Nice track ..!
But getting deep low freq is the easy part , the hard part and missing in many SOTA setup is the ability of getting that same dynamic contrast and impact across the mids and highs .
So what we are seeing a lot lately , is the same small speaker tech of 1”dome with a mid surrounded by 16 woofers ..
Powerful on bass/low bass and small everywhere else , a good test track should plum the lows and belch out the mid/highs enuff for percussive realism ..
Just saying ..!
But getting deep low freq is the easy part , the hard part and missing in many SOTA setup is the ability of getting that same dynamic contrast and impact across the mids and highs .
So what we are seeing a lot lately , is the same small speaker tech of 1”dome with a mid surrounded by 16 woofers ..
Powerful on bass/low bass and small everywhere else , a good test track should plum the lows and belch out the mid/highs enuff for percussive realism ..
Just saying ..!
So, lets go fun style and really unusual mixing.
This is a very troublesome layered mix with varying levels of sudden clarity and sudden opaqeness. I suspect phase flipped on some of the mixings of some of the parts making up the total 2-channel master. Flipped, then not flipped. On purpose? Could be.
Total caotica.
Try playing this one… dreadfull stuff, but can be quite revealing.
This is in the do not play category…
But also extremely revealing stuff.
You come across a real cocky shop, and they say:
It (the system) will play anything, what do you want to hear?
Well, I want to play this one. Loud please
Revealing! taste , age and personalty for sure ...
That obvious...? Dang...Revealing! taste , age and personalty for sure ...
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