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Post by ajski2fly on Oct 13, 2020 11:08:18 GMT
Forgot I had this one, a more fuller production, lots of feeling to it , lead violin is very good, I think quite a few would like this. I Musici was a conductorless Italian chamber orchestra, formed in Rome in 1952, the lead Violin is Félix Ayo Vivaldi* – Les Quatre Saisons Label: Philips – 6515 007 Series: Collection Trésors Classiques – , Monumenta Italicae Musicae – Format: Vinyl, LP, Album, Reissue, Gatefold Country: France :format(jpeg):mode_rgb():quality(90)/discogs-images/R-5019109-1382342754-6144.jpeg.jpg) |
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Post by Clive on Oct 13, 2020 11:32:09 GMT
This is a stunning recording. There is also an SACD version.  |
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Post by MartinT on Oct 13, 2020 12:20:01 GMT
This is a stunning recording. There is also an SACD version. I have that SACD. It is, indeed, very good. I like fonè as a label. |
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Post by speedysteve on Oct 13, 2020 12:55:32 GMT
Perhaps you took offence at the word needle - I also have a needle. Have had many TT and cartridges over the years. I can only relate that my Technics SP-10 and SPU Royal N cartridge are not capable of the same deep bass reproduction as a piece recorded and mixed for digital playback. Can't be done. Not sure if true, but I've read the needle would jump clean out of the groove if it was attempted. Anyway, enjoy your system and that piece of music that has been very dear to me, since it's release. Hi Steve, I have just looked at the specs for Ortofon SPUs and they all start at 20hz, the nude ellipticals go up to 20khz and the rest 15hz, so yours should produce bass. Not sure if this applies to Ortofon SPUs but quite a few of their cartridges can be quite fussy about VTA being right. I have a Rondo Blue and initially thought it a little bright, when I checked I found the arm was up at the rear, I gradually lowered it by about just under 1mm and the bass became more pronounced and defined, I tried slight lower but very quickly the bass became overblown and the top end clarity went. Just a thought that might be worth checking. Another aspect that I believe can come into play with getting good bass is the turntables platter. I know Technics TTs are well thought of but I have absolutely no idea of how it fairs on bass depth and control. I think I am correct in saying that is why there are a plethora of TT mats to try and improve focus and bass for some TTs. One dealer told me that to get good bass and what he called blackness (dynamic range depth) then a heavy platter is really needed. My Projects platter weighs in at 12kg so it is substantial so if this is correct could be why I experience great bass if it is on the record. Yes it's a very capable set up. Arm is a Fidelity Research FR64S BTW. With the extra heavy FR headshell that really makes the Royal N sing. The Royal N is night and day with its Replikant 100 stylus, to the original Spherical SPUs. It's set up correctly, no doubt of that. I've also found the sweet spot on the spindle to pivot. There's various views on that, compared to the recommendation. Not sure I would believe Ortofon's Freq claim in the real world though. |
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Post by julesd68 on Oct 13, 2020 13:10:49 GMT
This is a stunning recording. There is also an SACD version. I have that SACD. It is, indeed, very good. I like fonè as a label. I bought the vinyl, it's beautiful. Was also available as 45rpm which must be even more tasty. |
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Post by Clive on Oct 13, 2020 13:17:48 GMT
I have that SACD. It is, indeed, very good. I like fonè as a label. I bought the vinyl, it's beautiful. Was also available as 45rpm which must be even more tasty. That accounts for 2 of the 496 copies :-) I'm sure the 45 rpm version will sound even better but I'd spend at much time changing records as listing to them! |
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Post by ajski2fly on Oct 13, 2020 14:00:11 GMT
Hi Steve, I have just looked at the specs for Ortofon SPUs and they all start at 20hz, the nude ellipticals go up to 20khz and the rest 15hz, so yours should produce bass. Not sure if this applies to Ortofon SPUs but quite a few of their cartridges can be quite fussy about VTA being right. I have a Rondo Blue and initially thought it a little bright, when I checked I found the arm was up at the rear, I gradually lowered it by about just under 1mm and the bass became more pronounced and defined, I tried slight lower but very quickly the bass became overblown and the top end clarity went. Just a thought that might be worth checking. Another aspect that I believe can come into play with getting good bass is the turntables platter. I know Technics TTs are well thought of but I have absolutely no idea of how it fairs on bass depth and control. I think I am correct in saying that is why there are a plethora of TT mats to try and improve focus and bass for some TTs. One dealer told me that to get good bass and what he called blackness (dynamic range depth) then a heavy platter is really needed. My Projects platter weighs in at 12kg so it is substantial so if this is correct could be why I experience great bass if it is on the record. Yes it's a very capable set up. Arm is a Fidelity Research FR64S BTW. With the extra heavy FR headshell that really makes the Royal N sing. The Royal N is night and day with its Replikant 100 stylus, to the original Spherical SPUs. It's set up correctly, no doubt of that. I've also found the sweet spot on the spindle to pivot. There's various views on that, compared to the recommendation. Not sure I would believe Ortofon's Freq claim in the real world though. I suspected that it would be well set up, it is odd you say you don't get low bass from it, I will have another listen with mine. Another piece, which you are probably familiar with, with a big bass output is Richard Strauss, Michel Schwalbé, Berliner Philharmoniker · Herbert von Karajan – Also Sprach Zarathustra Label: Deutsche Grammophon – 2530 402 at the end of Sehr Breit—Von Den Hinterweltlern. The recording has it in spades IMO. Have you tried any mats out of interest? |
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Post by julesd68 on Oct 13, 2020 19:01:46 GMT
Adrian, for a very different experience I can recommend the Janine Jansen on vinyl - it's played with a a really pared down ensemble.  |
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Post by speedysteve on Oct 14, 2020 8:10:30 GMT
Yes it's a very capable set up. Arm is a Fidelity Research FR64S BTW. With the extra heavy FR headshell that really makes the Royal N sing. The Royal N is night and day with its Replikant 100 stylus, to the original Spherical SPUs. It's set up correctly, no doubt of that. I've also found the sweet spot on the spindle to pivot. There's various views on that, compared to the recommendation. Not sure I would believe Ortofon's Freq claim in the real world though. I suspected that it would be well set up, it is odd you say you don't get low bass from it, I will have another listen with mine. Another piece, which you are probably familiar with, with a big bass output is Richard Strauss, Michel Schwalbé, Berliner Philharmoniker · Herbert von Karajan – Also Sprach Zarathustra Label: Deutsche Grammophon – 2530 402 at the end of Sehr Breit—Von Den Hinterweltlern. The recording has it in spades IMO. Have you tried any mats out of interest? Mats, yes from heavy Cu to super heavy Cu, various audiophile ones, but the one I like most is a Pioneer PL-71 composite mat. It's sort of hard and softer in grades. Hard to explain. It equalled the Cu mats for sound. That and the Acos arm is what made the PL-71 sound so good in sure. I've still got the deck, keeping it for the mat 🙂 |
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Post by julesd68 on Nov 27, 2020 14:49:45 GMT
Yes folks, Christmas has come early for Jerry this year - there's a new 4 Seasons!
Alexandra Conunova is the soloist, who is new to me.
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Post by Slinger on Nov 27, 2020 15:03:06 GMT
Early Christmas, or a belated Halloween?  |
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Post by jandl100 on Nov 27, 2020 15:05:19 GMT
Mmmmm, tempting!
But there is only so much excitement and sheer pleasure that my heart can probably stand at my age, so I'd better not risk it.
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Post by julesd68 on Nov 27, 2020 18:50:57 GMT
Don't worry young man, I will listen to it on your behalf and report back! |
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Post by MartinT on Nov 27, 2020 20:38:37 GMT
Yes folks, Christmas has come early for Jerry this year - there's a new 4 Seasons! Alexandra Conunova is the soloist, who is new to me. What's with the bizarre playing order (not just on Spotify, it's like this on Qobuz too)? Very good recording in 24/96. The performance is sprightly if not with quite the attack of the Drottningholm. The lead violin doesn't have the extraordinary bite and the big moments in 'Summer' are nowhere near as mind blowing. I also miss that fabulous continuo organ, although the harpsichord makes itself known rather nicely. In isolation, it's pretty damned good. I'm just spoiled by the Drottningholm, which remains untouchable for me. |
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Post by MartinT on Nov 27, 2020 20:49:31 GMT
Actually, I've undervalued it. Re-listening to Summer and Winter (my two favourites), it really is rather good.
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Post by jandl100 on Feb 18, 2021 7:20:55 GMT
Here is a rather strange T4S.
I can't find any background info.
The title implies a take from the point of view of the Basque region.
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Post by MartinT on Feb 18, 2021 7:49:24 GMT
It sounds like it has Moorish influence, so could be Basque. My uncle was a Basque.
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Post by jandl100 on Mar 28, 2021 7:59:24 GMT
T4S ... for concert accordion. It works remarkably well! And,importantly for me in this work, is different enough to keep me interested. It's fairly amazing, actually. |
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Post by julesd68 on Mar 28, 2021 13:19:03 GMT
I managed about 4 seconds.
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Post by MartinT on Mar 28, 2021 13:57:19 GMT
It's a bit like listening to bagpipes.
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