Dear Ron,
Sorry if I came over as correctional in some way,certainly not my intention.
I took a personal segue and reduced the response;no chance because......
The individuals that performed,recorded,produced,mastered and lacquered were not exalted by money rather peer appreciation.
They were able to collaborate in a time rife with war and hatred.During such periods they strove for the best at all times.
Take a cross section of the gen-pop right now and ask them to do work without pocket lining and deception;unlikely.
Kindest regards,G.
They say history always repeats itself, usually in the context of bad things. Why cant history repeat itself in the context of wonderful things like this?Dear G,
All good here!
I guess the golden era was a time in which a fortuitous confluence of special people and events occurred, and is destined never to be repeated.
Kindest regards,
Ron
They say history always repeats itself, usually in the context of bad things. Why cant history repeat itself in the context of wonderful things like this?
Flo, and his mission to revive the knowledge around vinyl mastering, was very much a wind in my sails in those past days when I set out on my own adventure with a Neumann....Outside of Flokason,most quality engineers(pressing)are in their twilight years...
I love the few I have as they literally seem to be the most direct “they are here” (mine are all small Jazz) recordings I have.Literally every single vinyl aficionado loves direct-to-disc recordings.
This hobby supports numerous complex, fanatically perfectionistic, expensive, low-volume endeavors. ERC's projects come to mind.
Why isn't anyone bothering to record direct-to-disc today?
Of course it would be risky financially, but when has that ever stopped passion projects in this industry?
And if done properly the sound quality of the resulting LPs would attract many of our cost-no-object members to buy them.
During the Renaissance and classical era talent flew to the arts and these composers were well paid.
I liked your post but, with due respect, its take on history may be a bit sketchy (or whomever you took it from ... ??)
Beethoven had Esterhazy but Mozart died almost penniless. Generally one had to be talented not only as a composer and performer but talented at selling or ingratiating themselves to a sponsor or publicist and one's fortuna could vary with that of the sponsor. It's not like you got a check every month. It wasn't easy for Beethoven to find talented musicians because they were not paid much. If you could get a court or church appointment somewhere, Choralmaster for the Church of ... you were generally secure, but pay was not great. If you were popular you could get work traveling around - think of Haydn in London. But most 'artists' were happy with room and board. In the 20thC musical talent was compromised by major wars and it was not a great time of musical flourishing. I'm thinking we got some talented east German conductors once they got past the workers paradise. Masur, Keilberth, Sanderling, Tennstedt. I may not have all the names right.
Here's a fun question: where in the 20th C do you put a cap on both composers and conductors? Two different kinds of talent.
I liked your post but, with due respect, its take on history may be a bit sketchy (or whomever you took it from ... ??)
Beethoven had Esterhazy but Mozart died almost penniless. Generally one had to be talented not only as a composer and performer but talented at selling or ingratiating themselves to a sponsor or publicist and one's fortuna could vary with that of the sponsor. It's not like you got a check every month. It wasn't easy for Beethoven to find talented musicians because they were not paid much. If you could get a court or church appointment somewhere, Choralmaster for the Church of ... you were generally secure, but pay was not great. If you were popular you could get work traveling around - think of Haydn in London. But most 'artists' were happy with room and board. In the 20thC musical talent was compromised by major wars and it was not a great time of musical flourishing. I'm thinking we got some talented east German conductors once they got past the workers paradise. Masur, Keilberth, Sanderling, Tennstedt. I may not have all the names right.
Here's a fun question: where in the 20th C do you put a cap on both composers and conductors? Two different kinds of talent.
Also what I found...especially when I recorded my own voice this way...that was awesome! It was a tube amp driven cutter as wellI collect all d2d I find. As most people noted, the problem is the performance for most but for classical it is the performers who had done these recordings, some are very good but not many masters...
For its sound, I have not heard any other type of analog media that is as dynamic and open sounding as d2d including master tape.
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