Daniel A

Fast typing here! And unison advice from me and Hans as well!

Maybe he's uncomfortable operating in those genres. Anyway I gave him the catalog numbers and it didn't seem like a problem. That was two years ago.

While jazz seems to be his main business he's been able to get Japanese pressings of pop LPs for me in the past, so I'd say go ahead and ask him!

Jazz: Live from 1997 would probably be the best point to start. http://www.actmusic.com/act9258.htm#track Alas, no sound samples from taht album on the ACT website.

They are indeed great singers and have over ten albums behind them by now. However, they seemed to largely move away from jazz material after a couple of years (the group formed in the late 80s), and have lapsed into some kind of soul/pop-ish style, which is nevertheless somewhat soul-less. Still popular, and still very skilled of course, but I think their best efforts with jazz content are behind them. But I do enjoy the earlier albums. They have also done things completely outside jazz/pop, more out of the Nordic choral bag, some of that is very beautiful. If you want to hear them do jazz, I think that the live albums with mostly standard tunes are the best.

I'm still on the BN mailing list because I'm too lazy to unsubscribe; got a mail with info about this a few days ago. I thought I would be getting the info I needed elsewhere, but this time it was good I got to know about the deletions before the fact.

But could you really call Lou a non-pedal organist, the expression the starter of the thread is using? In later years he seems to have used pedaI bass regularly; for instance I heard him live in Bergerac, France in 2000 and then he used a distinctly synthetic pedal bass sound. (in fact it was not unlike the bass sound from a 1980s Super Mario Bros. video game)

His "promotional" threads are gone. I would think he deleted them himself.

I missed the real action in this thread, so I couldn't tell if and how much anyone would be offended, but don't lose any sleep over Jazzis - he seems to be a somewhat unreasonable character.

Thank you, Peter! The only Vortex LP I have is Keith Jarrett's "Life Between the Exit Signs", and from what I can remember it sounded good. Maybe the Vortex albums were produced differently, although it was an Atlantic subsidiary (or was it?). I'll probably get the Zawinul LP at some point soon anyway; even if it does not sound better than the CD it's somehow easier to accept it when you can read the liners from a nice LP cover!

Hey, you're still allowed to keep the music on your Ipod after scratching the CD itself beyond recognition, as long as you keep the unplayable - but genuine - CD! But to answer your question; no, (*cough*) I kept on playing my cassettes... ]

Assumption based on the first post in the thread, which may have been prased slightly different from the beginning (I can't remember anymore).

Would be much appreciated, Peter!

Thanks for replying, Chuck. In any case, the fold-downs could possibly be preferred to listening to CD reissues with the mono button on. To avoid the heavy stereo separation of Chick Corea's "Tones for Joan's Bones" (nominally on Vortex) when listening through headphones I tried to use the mono button on the amp, but due to phase problems this introduced heavy distorsion on the piano.

What is the general perception about the sound quality of mono pressings of Atlantic albums in general, and late mono albums in particular? Many Atlantic albums never sounded great in the first place from what I've heard, but I've never heard anyone comment on the mono/stereo pressing issue. Was there a point from which mono pressings were "fold-downs" of stereo masters, or were they done that way from the beginning of the stereo era already? I can see that there's a point of getting mono pressings anyway, since the stereo image of 60s Atlantic sessions is kind of artificial anyway. (I've recently spotted a mono copy of Joe Zawinul's 'Money in the Pocket', recorded in 1966. I also happen to know that CD reissue does not sound good at all, so I'm a bit tempted to go for the LP. On a sidenote: it has catalog no SD 3004, for some reason one of only eight titles in the Atlantic 3000 series, which incidentally included both of Duke Pearson's Atlantic albums)

Hardly surprising, but no less depressing, that the Solal album is deleted so soon. If you're thinking of getting it - do it now. It could possibly be that it may never be reissued again.

Francy Boland Kenny Clarke Big Band 'Volcano' (1969, US Polydor pressing)

Maybe someone has mentioned this somewhere already - there has been an announcement that these BN titles will be deleted soon: Clifford Brown - The Complete Blue Note & Pacific Jazz Recordings Martial Solal - NY1 Peggy Lee - Travelin' Light Stefon Harris - A Cloud Of Red Dust Joe Lovano - Flights Of Fancy Jason Moran - Soundtrack To Human Emotion Greg Osby - Inner Circle Jimmy Rushing - Five Feet Of Soul Jacky Terrasson - Jacky Terrasson Various Artists - Yule Be-Boppin'

It could be that the sound check function works a bit like ReplayGain, which means it uses some RMS related calculation rather than normalization, like rostasi said. The information is stored the file header and does not alter the actual data, it's just affecting playback. A quick Google search for RMS didn't come up with anything more meaty, but a short and not too deep explanation of Root Mean Square can be found at the RaplayGain site: http://replaygain.hydrogenaudio.org/calculating_rg.html

Regarding the unreleased Washington session, I've seen someone comment upon it somewhere - probably back on the BNBB - so there seems to be copies around.

It looks as if the biggest low-end difference is below 40 Hz. Wouldn't pehaps rumble and the like from the turntable make up for a big part of that?

So master tapes for the recordings that were actually released were not destroyed in the fire? The reason for my question is that it appears the sound of some, not to say many, Atlantic CD reissues are not comparable sound-quality-wise with many other contemporaneous recordings, and I was curious to what extent original reels still existed. Is there any point in hunting for LP copies of albums with particularly muddy sound, or are the tapes that have survived the same as those used for mastering the original LPs in any case?

With kind and instant online assistance from couw I've now created a frequency graph which could be compared with the two he posted above (my previous post is updated). So, what does it now tell us?

After some dabbling, this is the LP graph:

I was foolish enough to erase the wav track recorded from the LP. I'm recording it again as I'm typing this and I've now raised the recording volume so that it will peak more or less at 0.0 dB. Are the frequency statistics you posted generated from total track scans? I think I remember those take ages on my old PC, but I'll se what I can do...