One of the many things I appreciate about the tapes from UltraAnalogue is that Ed has done such a wonderful job of letting us see exactly what the recording venue looks like and how he has made these excellent sounding tapes. He has posted photos of the concert area, described what microphones are used and how they are placed for best results. We know the recording and tape duplication chain and how he has worked to make it better and better. This is important in creating a believable listening experience, having a reference in mind to hear how the performer sounded in that space. Most of the time we have only a few sparse details of what the recording venue was, maybe the name of the studio or concert hall. But Ed's generosity lets us know exactly where we are when the music begins.
This ability to create a believable music experience was certainly there when I began listening to Ed's wonderful recording of Vadym Kholodenko performing Beethoven's last three piano sonatas. There is so much clarity and lyricism in his playing that all of the sense of freedom mixed with structure is heard giving these pieces the feeling of being improvised rather than being played by rote. His sense of dynamics (coupled with Ed's unparalleled dynamic range capability!) gives us the flowing lyrical sometimes and at other times the dark and threatening.
This is exactly why we fuss with these antiquated, balky machines: to be able to sit down and appreciate one artist play and another artist record the sublime.
