David Ayers

I should mention that the drop outs on these SACDs are always around the same place, but are not like the drop-outs on a failed or faulty CD which are very definite, alwsy exactly in the same place. In fact the SACD drop-outs are quite variable, but not random, so always within the same few minutes of the disc.

One RCA (as was), one LSO live, the most recent and worst Chandos, maybe one other. No pattern. One stopped several years ago, other two more recently. All initially fine. No pattern. I just wondered if there is an issue with hybrid SACDs generally.

Gutted. First saw Belohlavek with LSO in 2001 conducting Dvorak's Stabat Mater. I hoped to get to his April performance of Dvorak's Requiem with the BBCSO, but didn't make it a priority. Stabat Mater was not very much to my taste and I figured maybe the Requiem would not be either. And I figured, as I have so many times with Belohlavek, skip it this time and go to his next one. Well, there is no next one, and I am taking stock how much I missed... Fitting that his last released recording is the Stabat Mater with the Czech PO.

That might be the retail value but the manufacturing cost is not very much...

@Scott Dolan A hybrid SACD has two layers... @Spontooneous I only have one SACD player. It is the same discs that have a problem in the same places, but that does not prove it is not the player. All but three or four play fine.

I have had a few hybrid SACDs go bad on me, a recent one massively. The CD layer is fine. Is this a known problem?

Second BGO volume imminent, including Elaborations, Light Blue, and Put Sunshine In It.

I go to hear the local period groups from time to time - OAE, AAM, and the Arts Florissants visit regularly - but...

The last person I heard conducting this was Gergiev, surprisingly enough. Followed by Shostakovich 4, which just obliterated what had gone before. Anyway this is Bohm.

This is what streaming is for, isn't it? Have this one on me:

Ah so you did listen to whole tracks and albums. That's what I was curious about.

Nothing against owning music - I own plenty - but a question about listening to samples or buying without hearing. Where entire albums are available on the streaming services - as the Threadgills are - why not sample there before purchase?

The jewel case in general was a big factor in me giving up CD. The cracks, scuffs, broken teeth and hinges, before you even play the CD very often - it was like buying instant junk.

That's...a generation-specific reference if ever there was one...

The Hines is superb, musically and sonically. I've been listening on Spotify and wondering if I should have bought a hard copy...

Hold the door! Hold the door! Hold the door!

Jack DeJohnette, Made in Chicago (ECM). Edgy avant-gardism or comfortable elder-fest - ?

I'm guessing if you guys entered Miss World you'd argue for world peace. Am I right?

I almost never have done, and I'm no kid. That's one I'm glad I skipped. I was about to make a joke about confederate dollars but I suspect they are quite valuable. Compared to downloads.

Downloads - how quaint. Just remind me, were they before or after cassette? I get so confused about 20th century models of music 'ownership'. Seriously, since dozens of mosaics are already on streaming and download services, this is what the owners of that material already do. During the life of this thread I have streamed through much of the Hines, Threadgill and Rivers. Cuscuna was describing what already happens.

@ArtSalt We already mentioned that the owners will not licence downloads and streaming to Mosaic. Instead they market these themselves, e.g. Hines, Threadgill, Rivers, and others.

Rivbea are also making material available on spotify, including the tuba trio and the former mosaic set. Have to say, the Rivers estate is doing a good job of keeping the legacy available across the platforms that count. Others should take note.

The perfect marketing strategy. Give me strength.

Thanks Niko. Sounds weak. And not Mike Myers the actor but Marc Myers, a blogger. Blimey.