wolff

The sound quality improves very much. I have "Kind of Blue", "Blues In Orbit" and Brahms: Concerto No. 1 RCA LSC 1831. Some of the best sound available. Are they worth it? Try a couple and let your ears and pocket book decide. You will also get more excercise. From Classic Records: Well, a 45 rpm cut sounds better than the 33 rpm primarily because a phono cartridge can more accurately track a 45 rpm groove than a 33 rpm groove. That is, there is less "tracking distortion" at 45 rpm. The groove modulations are exactly the same at either speed but at 45 rpm they are stretched out over a distance 50% longer than on a disk at 33 rpm. The net result of the same modulation over a longer distance is that the groove modulations or "changes" are easier for the cartridge to follow (track). The benefits of the increased tracking ability are most evident when the music is complex or the cut is "hot" - cut at a high level so that the groove modulations are more radical. Low level detail is greatly improved on 45 rpm cuts as well as the solidity of the image and soundstage. High frequency information as well as bass response is improved and the music seems more realistic overall. The tradeoff is that generally, the entire program will not fit onto an LP side at 45 rpm and will at 33 rpm. You must make the trade off between convenience (number of side changes) and replay quality - a familiar problem.

I'll say e-mail is working. Just got 197.

Make sure to get one that comes with a trial period. I have gotten rid of my power conditioners and I have tube kit. I felt they made the sound worse. Never tried the PS Audio models, but have heard good things about them.

Frankly, Mr. Nessa, you sound like the one with prejudices. I believe you have met and worked with the Blue Note recording engineer. Sorry, if this rubs you the wrong way. I just hear what I hear. I never implied any of this was fact or objective, unless you consider differences in hearing objective. I said, "probably caused by...", all of this is just my opinion. If you want to read what the Blue Note recording engineer actually did to the tapes go to Hoffman's site. Quick example: Silver's Blowin the Blues Away- original W 63rd. Very pure tone on the sax and trumpet. New York copy: that tone and presense is changed to one that is less real or accurate. For differences this big, IMO something changed in mastering process. What? Console, monitors, amps...I have no idea. Many people here disect sound differences between different Blue Note CD mastering jobs(Japanese, Conn's, RVG's) and they hear a difference. Do you know for a fact none of the Blue Notes recording engineers equipment and techniques changed over the years. In an earlier post I mentioned I do hear a certain consistancy to most Blue Notes, but the sound from my few W 63rd's was so much better I was compelled to question why or if anyone else had noticed.

"Bout you time you showed up. I know you hate this shit and expected your comments much sooner. I'm in the minority in thinking a lot of Blue Notes do not sound that great when compared to some other LP's I have from this era. Most notably, Contemporary Records. To me, even the good sounding ones sound distorted, etc.. When I noticed an absense of this on some original W 63rd's it lead me to start this thread. I just wanted to get some feedback on sound differences (probably resulting from engineering and mastering changes) people had noticed between 47 W 63rd's, NY USA and Liberty's. I've read Steve Hoffman's thoughts on Blue Note engineering/mastering. Now, I'd like to hear what Bernie Grundman has to say, as he's been working with the tapes for the last 3 or 4 years.

"Too Darn Hot" is great. Love the trumpet solo/backing. "Don't Fence In" is another fav. Great recording. I wish other engineers could get the voice/band mix this perfect.

Yes, what title? If it's not listed on Classic's site, try the on-line retailers that they provide links to(Acoustic Sounds, Red Trumpet, etc.). They may still have copies of OOP titles. The 45rpm editions go quick. Titles like Soul Samba, Open Sesame, Roll Call, Back to the Tracks and True Blue are OOP, but still around new if you look.

Put the stickers/warnings all over, but make them removable. I can't believe these guys would mess with album covers, especially BN's. I already keep a magnifying glass handy to read the liner notes. I buy cigars that can come in very beautiful boxes. The warning stickers are removable. Once again, the irony of forcing digital(and now, newer better technolgy ) down our throats has me LMAO. Couple this with the public domain issues that will be kicking them in the ass very soon and I have no idea how they will survive. Thank goodness there is Japan that treats the product and customers with respect. Also, I'm glad there is still tons of vinyl available, both new and used.

I have the Contemporary alternates....breathtaking!!! Can you give me any info on the RCA alternate takes. CD? Vinyl? Seperate issue of alternates or included in CD with album material? I have a few of his RCA LP's, but nothing with alternate takes. Thanks

Yes, there are a number of exceptions in my opinion(Maiden Voyage is probably another one). I think the sound can be good to very good(New York's and Liberty's), but when I play some other LP's from different labels I notice some flaws, or differences that are not to my liking. Overall, I like that the sound is very consistant in the original and re-issue New York's and Liberty's. I know what to expect and usually get it.

Just wait for the SACD or DVD-A as these recordings(not the music) need all the help they can get.

I have a deep groove (both sides) "Prayer Meetin"" which is very odd. I'm wondering if the sonics of the W 63rd's are consistantly better than later pressings, both re-issue and original. I wish I had more to compare. I have many original New York and Liberty's. While the sonics are good to very good, I do not consider them anything special(except mucically). They have a pretty unique sound that sounds highly processed. There are a few exceptions to this. It's like the engineer changed equipment or methods. This seems to be absent, to a large degree, on my few W 63rd's.

Do not get tired, get angry or creative. If more people really knew what the record industry will like in a few short years, I'd hope they would want to do something. Number one: All of your CD's need a sticker saying something like: This CD is from master tapes and original label, artist and owner of label get royalties. Beware copied public domain issues that pay no royalties, etc,. etc.....

The Buy 1, Get Unlimited $1.99 CDs still comes out cheaper for me.

Claude, you make some very good points. My interest and curiosity is towards, when the dust settles, what will things be like. Good or bad, in favor or against, things are changing quickly, and nothing is going to stop it. Do you think the outcome will be positive? IMO the outcome will be very, very negative, unless the original owners of the performances and albums get a handle on things and figure out a way to compete with the PD labels. They could liscense the tapes and art work at reduced fees. I feel many original labels are counting on SACD(I know SONY is) or even newer formats to keep the re-issue income coming in. I think they did not forsee the public domain issue.

I own 3 in mint condition. Compared to their re-issues and original New York USA titles, their sound kicks ass and is not fatiguing in the least. The music, of course is amazing, but I notice much more detail, warmth and accuracy of tone I miss on other Blue Notes. The highs still seem rolled off, but with less distortion. Much less of a veil or curtain in front of the instruments, which is one of my biggest gripes about other Blue Notes. Is it just me? Did they use 200 gram vinyl? It sure feels like it. I better take care of these 3, as unless I win the lottery..................

My first thought is the average consumer will buy what is cheapest, without looking to see who issued the CD or what the source is. In about 3 years the entire Blue Note 1500 series will be public domain. Will the tapes be worthless? Other than a few audiophile labels who will pay to have access to the master tapes? I have a feeling the original labels have no plan of action to compete. Many of the early Blue Notes of Miles, Monk, Silver, etc.. are already re-issued by public domain labels. Is this cutting into their sales? When the shelf space goes to the PD labels, because they are selling, will the original labels be out of business? Will they stop re-issuing titles? Will original label executives start going to work for the PD labels? I have a feeling the entire jazz re-issue scene will be completely and utterly different in just 1 or 2 years.

So, are these RVG's? Cape Verdean Blues Newk's Time (Remastered) Rockin' The Boat Never Let Me Go Right Now! Conquistador! Ready For Freddie Prayer Meetin'

First of all, I 'assumed' they would be RVG's without looking closely at description. Conn's from last BMG order: Mother Ship Bossa Nova Bacchanal Fuchsia Swing Song

My last order had a couple CONN's in it when I thought I was getting RVG's. I do not keep up with what all the CD issues.

How to you know BMG's CVB is the RVG? It says nothing about being an RVG in the description. Same with the new Newk's Time (Remastered) Rockin' The Boat Never Let Me Go Right Now! Conquistador! Ready For Freddie Prayer Meetin'

performances/albums becoming public domain around the rest of the world, I wanted to get your thoughts on the consequences/ramifications this will have on the consumer/original labels. I have read nothing from the owners of Blue Note/Fantasy/Capital etc. regarding this.

Glad you had great time!! That picture is great.

Freddie Roach marathon.... Down to Earth Good Move Brown Sugar All That's Good I guess I'm missing "Mo' Greens , Please".

Is this LP set on CD now? Lee Morgan Live Sessions Trip Jazz TLX-5041 willow weep for me peyote speedball ujamma ceora 2 record set recorded live at performances in the summer of 1970, in Los Angeles.