porcy62

I bought this record (if you are reffering to the last MFSL), but I felt unsatisfied with the sound and the Yoko's remix, compared to my late italian analog issue, at the end I bought a UK original pressing, (at the same price of MFSL). I find the UK pressing more 'natural', richer, maybe a little less dinamic and definition, but it gaves me more joy of listening. I sold the MFSL and the italian pressing and stick with the original. How do you judge your pressing?

THE CLASH SANDINISTA! CBS

I have a Redd Mosaic cd set in mint/vg++ condition to trade. I will trade it with a fair amount of jazz vinyls in NM condition. Due to the absurd shipping cost of oversea airmail (more than 40 dollars!) I have to limit my offer to european countries. PM if you have something to offer. SPECIAL OFFER 55 euros including shipping in EU countries

INTRODUCING WAYNE SHORTER VeeJay

Keith Jarrett EL JUICIO Atlantic

It could be the subconscious question of my thread. Usually I look at SH forum, but I never posted there. I am a lazy guy, it would require me to listen to 45 times the same record on countless pressings and remasterings. Anyway I buy both stereo and mono RVG pressings, it depends on wich one I find and on the price. And I have some tech curiousity about it, I suspect it will not be fullfilled.

I continue to find it amazing that the fed. govt. has made absolutely no effort over the decades to whip together a brief ad campaign stressing the importance of saving money. Are you serious? The whole system is based on overconsuming.

That's seems a good reason to buy only used Beatles' vinyls, a part the gorgeous sound obviously

L. V. BEETHOVEN - PIANO CONCERTO N.5 - D. BARENBOIM, O. KLEMPERER - EMI

You're right, and don't forget the racist slogan against african players. BTW italian supporters could throw stuff like this

Paul's pushed me into economist mode here. I guess it's rational to snipe when other people are (irrationally) max-bidding below their actual valuations -- that way you might pay a lower price for an item than you would if you simply set your valuation of the item as your max-bid. That said, it doesn't really make sense to get angry when someone snipes you out of an auction -- either you should have set your max-bid higher, or you're better off not having the item. Can sellers put in an option in their auctions to automatically extend bidding by 15-30 minutes when there is a bid within the last 1-2 minutes of an auction? I think that would make a lot of sense. Guy The main reason for me is time zone difference. It's so frustrating loosing auctions for a couple of $ when you are sleeping! And as you said usually you could get items at lower price. I think that decided you max-bid, with a snipe you have more probabilities to pay less, if you bid early, in the last minutes the people on line will test your bid till their max-bid. Only if they really want the item they enter a senseless max-bid, but I wouldn't risk a sensless max-bid because I could find a previous senseless max-bid, the main goal is the get the item at a lower price.

Sadly, another Windows based software. I have a MAC

Since I loose more than half of the auctions I partecipate for various reasons, I wish to give a try at Esnipe. Do you use it?

CANNONBALL ADDERLEY - INTRODUCING - EMARCY Whoops NAT ADDERLEY

I found this record, Columbia 44050, never heard about it. Any info?

SONNY ROLLINS - NOW'S THE TIME - RCA stereo

Thanks Chuck. But did RVG mix the stereo? I mean that if he equalized the mono master (and the stereo, if it was feed by the same board) during the recording, as RVG usually did, the only things to do is check out the level of both channel of your stereo master, and correct them if you have some big difference. If I would have to mix both mono and stereo on two different machine during a recording with a modern board, I would mix all the input in a two channel master and this two channel mixed togheter. If you are monitoring in mono, when you act on the single input level, the result on the stereo mix could be a little unbalance between channels' levels. Considering the experience and the skills of RVG and other recording guys at that time, I think they did not have to spent further time on stereo mix. I know that in case of three tracks master tape, like Columbia, they had to remix, but in RVG case?

Here you got the man in his words AAJ: How did the invention of stereo effect your approach to recording jazz? RVG: That was a problem for everyone and not just me. There was no artistic rush to get into stereo from the people I worked for. They had to get into because they had to get into it. As a matter of fact, for quite awhile Alfred and others too had to be making...this is pretty important that you understand this. They had to make two products from the same session. They had to make a mono release in order to have anyone buy it and they had to make a stereo release to make that available to people who were buying stereo. And then of course when the stereo LP came in there was this question of compatibility. Who wants to buy two albums of the same music? You had to make both available and that became very difficult so what happened was everything that was made in Hackensack was mono. Even towards the very end when we were recording two-track we weren't listening in stereo. We were recording in two-track and we were listening in mono because there was only one speaker in Hackensack in the control room and only one speaker in the studio. So how could you listen in stereo when you only have one speaker? And all the judgments, Alfred's judgments, as to mix and balance, and mine too and the musicians too and how they sounded in relationship to each other, and all that during the creative part of those recordings was done in mono. It couldn't be any other way. Towards the end we were running two-track sessions but no one had ever listened to them. So there was no particular attention or attempt at creating a stereo field at that time. the full interview http://www.allaboutjazz.com/iviews/vangelder.htm I know it's AAJ According to his word, the stereo mix was less accurate that then mono. One could think that if you pan your left and right channel of your stereo at 0, or if you switch your amp to mono, the result would be a mono version of the record. Did I miss something?

I second all Brownie's suggestion! And if you love movies in Paris you can find a huge selection of great movies on Cinema every day, from Griffith to Spielberg! I think you have to read some George Simenon's books, and watch some Nouvelle Vogue's movies, and of course some french XIX/XX century literature, Paris is a treasure I loved to discover with some maps. Afterwards you can loose yourself in the second most wonderful city of Europe. And if you wish to go visit the first most wonderful city of Europe...

Bobby Hutcherson COMPONENTS , NY mono.

Zappa In New York, Discreet promotional copy, directly from Zappa's vault!

Miles' Mosaic Columbia recordings 1963-1964

CHUCK BERRY THE CHESS BOX

DON CHERRY ED BLACKWELL EL CORAZON ECM

ERIC DOLPHY FAR CRY Prestige stereo (Bellaphon German Pressing). Just found it at my local store for ten euros. I haven't the original NJ pressing, but those germans were great in this case! Any opinion about Bellaphon?