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Post by Deleted on Sept 18, 2014 18:56:51 GMT
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Post by ChrisB on Sept 18, 2014 19:15:14 GMT
Interesting, I read the page about mono connections. Thanks for that.
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Post by julesd68 on Sept 18, 2014 20:48:19 GMT
I'll be interested to look further into their long list of classical recommendations, thanks for posting this ...
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Post by MikeMusic on Sept 19, 2014 7:46:51 GMT
Interesting to see King Crimson on there
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Post by daytona600 on Sept 23, 2014 17:08:33 GMT
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Post by julesd68 on Sept 24, 2014 11:00:14 GMT
Scott, which were your favourite recordings that you bought from this list?
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Post by daytona600 on Sept 24, 2014 17:42:11 GMT
Far too many to mention Jules still have a box with about 300 odd titles sealed still to play & new ones arrive most days & lots more not on this list including lots of 45rpm & D2D Direct to disc these two played today   |
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Post by MartinT on Sept 24, 2014 17:54:10 GMT
I bought that Four Seasons direct cut, too. Am just about to play it.
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Post by julesd68 on Sept 25, 2014 10:55:38 GMT
Not a fan of the Four Seasons, but how did you rate it for sound quality Martin?
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Post by julesd68 on Sept 25, 2014 11:03:30 GMT
It's really good to see that there are classical releases that are up front about the mastering process! Makes life so much easier, if only some of the 'mainstream' labels could follow suit.
Also great to see that there are so many AAA releases, I wasn't aware of this till now. All of my classical vinyl are originals but I can see in certain cases where a 'new' copy might be a good option.
I would love to compare my Decca SXL 6000 'Spartacus' to the recent Speakers Corner release.
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Post by daytona600 on Sept 25, 2014 17:27:41 GMT
D2D Four seasons is a very nice recording SXL 6000 Speakers corners also a very nice version
not heard a original decca myself
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Post by MartinT on Sept 25, 2014 20:40:32 GMT
Not a fan of the Four Seasons, but how did you rate it for sound quality Martin? Sorry, I missed your question. It's very immediate and vivid. The orchestra start and stop on a sixpence and it's very clear (as I was told when I asked the recording engineer about it) that they are very well rehearsed and used to playing with each other. The sound matches their playing and is a real experience. Fantastic direct cut disc and worth getting your hands on if you like Vivaldi. Their interpretation is interestingly different, too. |
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Post by daytona600 on Sept 27, 2014 11:48:01 GMT
![]() they also recorded another D2D @ 45rpm |
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Post by MartinT on Sept 27, 2014 12:43:20 GMT
Yes, I saw that too. Didn't clock what it was, though.
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Post by daytona600 on Sept 27, 2014 18:08:19 GMT
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Post by MartinT on Sept 27, 2014 18:40:10 GMT
I've been eyeing up that Speakers Corner Spartacus, Julian. Also, they have a three-record set of the famous Dorati Mercury recordings of Stravinsky Firebird, Petrushka etc. I am VERY tempted.
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Post by julesd68 on Sept 27, 2014 19:55:51 GMT
As much as I don't want to be seen to encourage you parting with your hard-earned Martin, if you do get the Speakers Corner version, I'd be delighted to bring my narrow-band SXL6000 round again for a 'Spartacus' bake-off!!  I haven't seen the 3 lp Dorati set and I really shouldn't look ... I have Abbado's 'Firebird' on DG which is entirely wonderful and would be another interesting comparison should you indulge ... |
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Post by julesd68 on Sept 27, 2014 20:08:26 GMT
Those 'Interpreti Veneziani' lps look intriguing also from a mastering / recording point of view.
The Vivaldi claims to have used valve microphones into a Neve desk and then via a 'pure analogue path' to the lathe. I'm not quite understanding this - does that mean the mix itself is done on a digital or analogue desk - Neve make both ...
Now the second lp uses these '50 year old valve microphones' into a 'state of the art Nagra digital recorder'. Of course I haven't heard the results so can't comment on this directly but it seems a slightly curious combination of technology to me ... On one hand they are saying they are seriously 'old school' and then on the other 'state of the art'. Still, I'm not sure there are many people who would be bothered with the faff of recording a live concert to tape these days.
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Post by daytona600 on Sept 28, 2014 17:58:37 GMT
Those 'Interpreti Veneziani' lps look intriguing also from a mastering / recording point of view. The Vivaldi claims to have used valve microphones into a Neve desk and then via a 'pure analogue path' to the lathe. I'm not quite understanding this - does that mean the mix itself is done on a digital or analogue desk - Neve make both ... Now the second lp uses these '50 year old valve microphones' into a 'state of the art Nagra digital recorder'. Of course I haven't heard the results so can't comment on this directly but it seems a slightly curious combination of technology to me ... On one hand they are saying they are seriously 'old school' and then on the other 'state of the art'. Still, I'm not sure there are many people who would be bothered with the faff of recording a live concert to tape these days. On Friday 13th of June (we don't do superstition) AIR Studios hosted it's first ever (and perhaps the most ambitious of recent times) direct to disc recording of Vivaldi's Four Seasons performed by the leading Venetian Orchestra Interpreti Veneziani. The project was the brainchild of Audiophile producer Mike Valentine, engineered by Jake Jackson live from AIR Studio 1 and cut straight onto master lacquer by John Webber via our Neumann VMS80 lathe. The purpose of working this way is to produce a vinyl release as pure and unprocessed as possible, skipping the convoluted electronics of tape or hard disc recording. Also Interpreti Veneziani are very fine musicians who impart a verve and fresh perspective into this famous concerto, something worth capturing in it's rawest form. Four Seasons in one day Spring & Summer were cut onto side A and Autumn & Winter onto side B. At 20 minutes per side this was very tight as cutting long sides without the tight packing of vary-groove can be tricky. "We knew we'd have to adjust the pitch (amount of groove lines cut over a set diameter) manually, saving space where possible" John states "Mike Valentine provided a CD version of the ensemble playing Four Seasons and this was used as a guide prior to the session; helping establish possible settings. At 96% disc space used from an approximate source we knew things would be tight on the day". AIR's technical director Tim Vine-Lott provided balanced tie lines from studio one with John carrying out listening tests to ensure a good signal was getting up to the mastering room. Ray Staff was also on hand to offer wisdom and guidance prior to the session as one of the few engineers in the country who has done this before. Talkback was setup between the two rooms and John cued the studio once the cutter head was down and lead in groove cut. There is no editing or stop/start possible in this process, Vinyl records are 'normally' one complete groove from start to finish. How did it sound? Mike Valentine is a big fan of the work of Doug Sax's & Lincoln Mayorja's Sheffield Lab recordings. The vision was to produce a truly unique and vibrant classical release on vinyl. This method, although technically risky (A problem with the cut or pressing could result in total failure) is certainly purest and eliminates the multi tracking stage entirely. A few microphones (including Mike's preferred Neumann M50 Decca Tree array) and two tracks straight from Studio One's Custom Neve 8056 were all that was used apart from a passive insert box, elliptical equaliser and the lathes electronics. The sound of the test cut genuinely knocked everyone’s socks off. John says "The mids shone like I've never heard before, in fact they were quite forward so I asked Jake to back them off a bit on the console, I feel like this is what I want to hear every time from vinyl". Anyone who entered the room that day for a playback was in agreement that it sounded three dimensional and open. Certainly this is no gimmick, it's a wholly impractical and expensive way to work, but cutting straight to lacquer has an unequivocally pure but rich tonality and clarity. "With a clean, quite pressing we knew this would be great, there was excitement in the air that day" - Mike Valentine. Valve Microphones - Gefell - Akg - Flea Recording Desk - AIR Custom Neve Cutting Lathe Neumann VMS80 Pressed at RT Holland Producer - Mike Valentine Recorded at AIR London |
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Post by daytona600 on Sept 28, 2014 18:05:00 GMT
I've been eyeing up that Speakers Corner Spartacus, Julian. Also, they have a three-record set of the famous Dorati Mercury recordings of Stravinsky Firebird, Petrushka etc. I am VERY tempted. Stravinsky 3LP is almost out of print now , firebird was deleted years ago & only part of the box set now still have a couple left www.6moons.com/musicreviews/2009_july/stravinsky.htmlSpartacus is also very good , not heard the SXL 6000 original myself to compare both versions & later this year the AAA 45rpm bernie grundman ORG Version is due |
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