David Ayers

That's not what I said, is it Scott? Why not just thank me for the link and for explaining what EAC does? If you read any account of EAC you will see that is how it works. If you use it you will see it do just that. It shows the speed of the rip and the percentage of success. Daniel is satisfied his SHM CDs ripped cleanly and quickly. Not all do, as you would know if you used it. That means they are well-manufactured. That's it. No-one is trying to 'prove' anything to you.

I don't know how Clean Feed keep up their release schedule.

If it's a fact, then you should have no problem providing data for the rest of us to study. Until then, it is either perception or opinion. http://www.trustedreviews.com/opinions/cd-ripping-software-roundup_Page-4 I can only assume you've never used EAC or you'd certainly have noticed.

EAC takes longer to read problem data. That is because it keeps going back over it to get a correct reading. Can't help with the rest but that's just a fact.

You are falling into a common misconception about CD error correction. It's an error correction algorithm that is applied to every bit that is read from the CD all the time. There is no strain on the error correction circuits because they aren't working harder, they're working the same as if the CD had no errors. The bits go through error checking circuitry and if a bit needs to flip, it's flipped. If it doesn't need to be flipped, it isn't. There is no additional circuitry needed to flip these bits. Not sure about this. Yes a CD player has a 'circuit' but a PC? When I use EAC it takes much longer to process tracks requiring significant correction.

Album covers are horrible. Sorry. Had to be said.

And PS this is only recorded music we are talking about, which is a bit like collecting beer mats. There's always actual musicians to go and hear - or you can even write or play some music yourself.

I think there is more new recorded music out there than ever. Although this thread is long, I get the impression that many of the folks on this board are doing no more than dip into these reissue series for titles they lack or to hear old favourites in improved sound.

Butcher and Lash were joined by our own local improv luminary, Sam Bailey, on piano, harmonium and bells. Great stuff. Revelation of the evening - THE LASH.

John Butcher and Dominic Lash, just a short stroll from my house. It's the interval. So good.

I think CD players routinely incorporate oversampling and other error-correction.

SHM is surely the last gasp of CD technology. The idea that you have to a special material to offset just some of the errors that are introduced when transferring from the optical disc to a reader which then 'corrects' (i.e. glosses over) in real time some of the remaining errors - well, nobody is going to pretend that is the best way to play a data file any more. So after SHM, nothing, I predict. But these SHM discs are cheap and the CD issues of the same mastering will be cheaper still, so...

Spent time recently with the Lighthouse dates on the mighty Elvin Jones Mosaic.

Scary.

I find one Laswell/Graves recording on Spotify, called The Stone, with the label given as M.O.D. Technologies, 2014. It is unrelated, I now see. the new one is called Space/Time Redemption.

Quite a few by Brötzmann.

The Governor was a really good character but they dragged out the story for SO long...

The CD situation regarding MacMillan is a little frustrating. Chandos and BIS both did some of the works, and now MacMillan himself is conducting them for Challenge with the Netherlands Radio Chamber Philharmonic Orchestra. These series are independent and there are some overlaps, but they all seem to be on Spotify so there is plenty of opportunity to compare and contrast. Prompted by this thread, I am tackling the Challenge series first. There is more variety than I expected.

Thanks for posting that list. While I am certainly not going to "do" Blue Note all over again, it is hard to resist dabbling in these SHMs. If only they had had these when I was growing up . Not sure which of these have new extra tracks. Someone will work it out though. The Three Sounds releases evidently do, though a lot of Sounds tracks were anthologised in different ways before so these copious-seeming extras may be repeats, and in any case they would be a pretty low priority. Blues in Trinity extras? Non on my JRVG, but I don't have the Mosaic. True Blue? Can't remember. Anything else? Weirdly, no Jimmy Smith, but the Pattons are promising sound-wise. Organ comes off well in these SHMs.

Thanks for the 28 Days Later rec., by the way. Started watching that on my streaming service (with apologies to those from whom only a physical product is real). Really good - didn't know it was British and directed by Danny Boyle, no less. I don't follow the movies very much so I had never heard of it...

Incidentally, people might remember that MacMillan's rise had a lot to do with the first recording of Confession on a 1992 (?) Koch CD. I had the impression that the recording created the wider buzz around MacMillan that helped to open up opportunities. Not quite a Górecki moment but something like. That was rapidly followed by the work for Glennie, herself just becoming maybe the first classical percussion star, after which the doors were flung wide open for him. We should mention too that he has written a lot of sacred and other vocal music. I have heard at least one piece performed at Canterbury Cathedral but I really can't remember what...

Thanks for posting those, Mark. Good reviews! I know MacMillan's fun side. The concert I attended included Mozart's K467 and Tchaikovsky 4, so as a curtain raiser MacMillan had knocked off a very short, occasional piece called Stomp (with Fate and Elvira) which toyed around boisterously with the themes from the Tchaikovsky ('Fate') and from the once so-called Elvira Madigan concerto. He did actually publish it (http://www.boosey.com/cr/music/James-MacMillan-Stomp-with-Fate-and-Elvira/51430) though whether anyone has since performed it is moot...

Yes, Walking Dead does move a little slowly, I agree.

OK now I am ashamed. I looked at the list of MacmIllan compositions on wikipedia and was surprised how many of them were LSO commissions or co-commissions, and fp here under eminent conductors. I *was* aware that I had been consciously passing over opportunities to hear MacmIllan - I just hadn't realised how many I had missed So the new motto is: sneak ten Macmillan premieres past me once - shame on you: sneak another ten past me - shame on me.

The one piece of MacMillan I have heard in concert was The Confession of Isobel Gowdie (LSO/Davis, March 2007). At that time, I was only familiar with Veni Veni Emmanuel in the Colin Currie recording on Naxos. I had begun to find that a little too straight in terms of its treatment of the well-known theme - and still do - but Confession, which I now rehear on the LSO Live recording, I very much like. Nothing else of the little I have heard of MacMillan in recordings has won me over, though he is performed here every year, I suppose, and I am pretty sure I will be going to hear something of his again soon. Have there been pieces since Gowdie and VVE which are especially exciting or did he peak early, do you think?