jazzhound

I always thought originals were mastered by Bell but now I found one with Van Gelder. what gives?

you think I can record my lps with the Masterlink and retain all the greatness of the vintage Blue Notes? I trled using a computer with an outboard dac and something was lost in translation. (although it was only 16 bit cd burn.) I figure the higher resolution will do it but before I spend the money I need to know!

well there are stereo tapes since Classic did a stereo release. thanks Google

are early blue notes released later in stereo fake stereo? refering to 1591 specifically but I wonder at what point stereo mixes were done and when only mono went down. thanks

need a cover for original mono pressing of Riverside 399 , Waltz For Debby by Bill Evans. thanks

MIDNIGHT WALK elvin jones mono dj white label mint 2 dollars on ebay no less

did the large drummer logo label predate the small drummer label?

Don't Go To Strangers Etta Jones

NICE to see a band properly dressed. All the best! kudos to your drummer, also.

how is that a second pressing?

Wilder remixed many of the Miles cds, if not all, adding further manipulation and processing to the original masters which Teo supervised the mixing of. that is a major refry and is not about nuances. any listen to the digital refry of Miles Ahead should hear the poor results. I believe the versions I prefer are the original masters simply transferred to digital on most occasions.

all I can say is my Miles cds of the Quintet produced before that digital maniac operating out of Sony Studios in NYC got his hands on the masters sound much better that the later remasterings. (you know the ones with the bonus tracks). so maybe upgrading won't give you much improvement.

It has been done, to predictable results. Note that this is the article where jazz1 found his quotes below. Can you provide links to reviews of some equipment that measures "wonderfully" and also "does not sound good"? Apparently there are "countless" numbers of them, so they should be very easy to find. :-) Obviously, you'll be hard pressed to find any reviews of equipment that "does not sound good". You can find many cases where a reviewer prefers one unit to another, but that has to do with the unit's price more often than it's measurements. I realize these are not your points, but this one is particularly silly. I'm a listener accustomed to the sound of live acoustic performance, but I'm not above being "captivated" by a good, swinging tune played on a cheap boom box. How is this supposed to support the notion that $300 power cords make a difference? Seriously, tho...the most common case where audiophiles prefer equipment that does not measure well is with tube amps, which often demonstrate large (1% or more) percentages of 2nd order distortion. 2nd order distortion is very difficult to hear, and when audible, can come across as "warmth" or a subtle, pleasing "bloom" to the sound. No secret there, but alluding to that fact to justify the sonic effect of power cords is seriously reaching. It's true, measurements can't tell you how a component sounds. However, that doesn't make them irrelevant...every legitimate designer of audio gear uses measurements extensively during product development. Also, the pieces of gear you are probably referring to: amps, CD players, etc.; are several orders of magnitude more complex electrically than a power cord, and vastly more susceptible to the vagaries of implementation, part choice, etc. There are indeed many mysteries about the mind and our perception of sound. There are very few mysteries about line transmission theory and how electrons move through wire. These are completely different. Our foremost experts on brain research suspect that we might know 5% of how our brains work. Any time you get in a serious conversation with one of these guys about things that are interesting to audiophiles (like, why can I hear a difference between amplifiers when I'm just listening, but I can't when I'm doing an A/B test?) you are quickly informed this is an area that no one understands. The more knowledgeable the expert, the more emphatic his line in the sand will be. If you can hear a difference between a $300 power cord and, say, a Volex 17604, the chances are much more likely it's because of what's between your ears than what's between your audio system and your power mains. The power of suggestion and confirmation bias is well known (but impossible to measure), but I've yet to see too many audiophiles give these things more credence than the money and/or time they spent on their latest upgrade. I don't know why certain people assume price influenced listeners judgement in evaluating audio, other than to futher their argument, which seems to be about who knows more about electrons than the other guy. I came upon my fav power chord by accident and with no expectations. I was supposed to audition a Pass amp in my system but found out quickly it wouldn't drive my speakers. so just for the hell of it I set my amp back up and used the power chord that came with Pass. It made my amp sound better after repeated listening to my suprise and was lucky to get The Cable Company to sell my that very chord for 20 bucks. they wouldn't tell me the manufacturer of the power chord, reason being one of their suppliers was taking these chords, putting a fancy terminal on it and reselling for 300 bucks. ( so they say.) Even greater improvements were made in my system (which started out sounding lousy) by changing speaker cables, interconnects including a MIT Zip chord for the DAC and using a Power Plant regenerator. Most of these changes would probably not been recommended by someone looking at things from a elecro- scientific background I dare say.

Your observations are most likely colored, but probably by how much the cables cost. Give me a sound, scientific reason why 6 feet of expensive power cable would make a difference. Well about scientific reasons, back in the eighties, the obsession of audiophiles and the manufacturers and engineers were mesurements, frequency response, and the Holy Grail: ZERO DISTORTION, lather on the very same guys discovered that an archaic technology like vacuum tube with a distortion of 3% is much more pleasant and musical then a SS amp with a distortion of 0.00001%. I know that they found scientific explanation for it (afterwards oubviously): harmonic distortion, etc, but like someone said: Noah, a lone amateur, built the ark. It took a large team of professionals to build the Titanic. And we all know how it went. Porcy, you have it right. I studied electrical engineering at Pratt Institute, but nothing I learned there would cause me not to trust what my ears tell me.

compared an original pressing of Saxophone Colossus with a cd version. cd was more compressed. not a good use of the medium.

yes power chords do make a difference. devices such as PS Audio Power Plants make a bigger difference. My observations are not colored by what I "know" about electronics , just many hours of critical listening and experimentation.

a tv repair guy told me WD-40 does the job as well as anything. too chicken to try it though.

I think the new feedback policy hasn't kicked in yet. there are at least a dozen seller I would have loved to nuke... always use a credit card when paying with PayPal.. extra protection comes in handy.

seller threw me back 75 so now I have to keep it. I can imagine how much better the real thing must sound. thanks for getting me through this tuff time.

That's true. Orpheum was to Riverside/Jazzland what Status was to Prestige! I picked up a Orpheum Waltz for Debby and its sounds very good. Same matrix as Riverside original. difference between two is minor.

Ray's thoughts on sound make sense to me. If you can make it sound good on cheap equipment (which is usually the most commonly owned equipment), it should sound that much better on top end equipment, right? (OK, this doesn't always work out in practice). This is the opposite of what some audiophile companies seem to do- their product is designed for high-end equipment, and often enough, the results don't satisfy. The BNs, Riversides, Prestige, et al, records of the 50s and 60s were probably most often played on fairly primitive "record players." Yet even now, their analog sound still can knock your socks off- even when they weren't trying for that effect. I was also thinking of the information cited in the threads above about Grauer and Keepnews. Maybe from Keepnew's viewpoint, seeing all those albums going out marked "Bill Grauer Production," might have motivated him to start his own personal PR campaign to highlight his own work with the label. had did Opheum productions come about?

If it has 'RVG' in the runout but no deep groove or 'ear' it is likely to be a Liberty pressing from around the time of the Liberty takeover with spare Lexington labels and cover used. More commonly seen though with '47W63rd' Libertys. Strangely enough, these pressings can sound very good indeed (especially the stereos). its a mono 1541. I paid 150. any ideas what I can get on EBAY? I wasn't aware that such Liberty pressings existed so i assumed.... I don't think the seller would be inclined to refund since he made no representations as to original. thanks

I bought a Lee Morgan lp on Ebay that had a Lexington label... got record has RVg in dead wax lexington address on cover and label but no ear mark or deep groove. Is this a Liberty pressing with a Lexington label? didn't know and now may pay the price.

Came across a cd box set released in 1998 by Blue Note"best of"type , with a Mosaic type of booklet that is really nice. anyone know what a fair price would be for this? or what they have sold for. the ones on Amazon priced at 175 but that seems crazy to me. thanks

had some communication with this seller and seems like a nice guy, especially for a New Yorker. (some NYC dealers are real creeps). I think his marketing is to be admired. Its obviously very successful. oh yeah that Lee Morgan deal never went down. someone thankfully tipped off buyer.