jazzhound

as suggested by PS Audio, I flipped my 300 over and removed the bottom plate. This keeps it cool without needing a fan.

No its not the way to go. Buy the original Columbia pressings. They are superior to any reissues.

reason #10 You need something to play when your folks come by. reason #9 Gain insight on why Coltrane couldn't wait to leave. reason #8 Makes a great music minus one record for saxophone players! reason #7 Use as trade bait for 4 Freshmen set reason #6 Find out what drove Miles to beat his wife reason #5 You could use five takes of No Blues to figure out the changes. reason #4 Use it to get back at your neighbor who plays Norah Jones ten times a day. reason #3 You never heard a musician nod off in the middle of a solo. reason #2 You can look foward to Miles' ghost showing up and trying to bust up your stereo. AND THE NUMBER ONE REASON TO PREORDER THE MILES AT THE BLACKHAWK SET NOW IS....... You just love doin that FRAN DANCE!

AWAKENING is equally engaging and better recorded. If only CONFLICT was recorded by Van Gelder so the drums would have been better captured. He knew how to record Elvin!

Being that the original pressings of Waltz for Debbie and the followup album cost big bucks, turntable owners would be well advised to pick up the double album on Milestone pressed in 1973. It goes for ten bucks mint and is the next best thing to the originals. (the Orpheum pressings are bad and well as well as the audiophile stuff with the jazzed up top end.) I roll off a little treble on my solid state mid fi set up and I am there! Also the Getz/Evans double album second pressing I believe was mastered by bob Ludwig and is also great.

J. S., i've been enjoying Black Hope as a result of yur recommendation. I will move on this one. thanks.

Me neither. I got the message when Mosaic told their vinyl customers to drop dead. screw them.

Welcome aboard caaudio! Can you provide some insight into why the sound at most pop concerts is so wretched? It sounds to me like the mixers are overdriving the front ends of the consoles, or are using so much eq the orginal sound is destroyed.(I haven't heard a decent drum sound live in years.) And I'm not talking large venues but medium size theaters . Are the consoles they are using cheesy or are these guys ears fried?

thanks for sharing...I think.

" standard of language" is great. the band knows how to generate alot of musical energy and keep it rolling. "black Hope " is good but this is more now and freer of the typical cliche's and jazz conventions. 5 stars!

I have not been able to warm up to this one. I don't like the stop and start rhythms or the string arrangements and don't find much of Wayne's playing very moving or lyrical. Maybe I need to hear this on vinyl. I will keep listening to it before I give a review> ( By the way anyone who likes the string things should buy Tony Williams last one. )

I recomend "Homecoming" one of the GATEWAY group recordings.

Is anyone familiar with this recording with Jan Hammer?

I hope not. I would hate to see anyone waste money on this trainwreck just for the sake of debate! Oh yea, there is one song where the drummer drops out cause he gets lost ! I have a feeling this was recorded under bad circumstances. it happens in the music world. Cedar Walton-Composer thats the one to get. (comments like "everyone likes it", and "I don't know anyone who isn't crazy about it" are a really rude way to discredit another point of view. And obnoxious.)

How can one praise a recording where the band can't even play the head of the title tune in sync? Sloppy ensemble playing and an awful recording. Buy Ceder Walton-Composer on Astor Place records instead.

the rhythm section is not together, maybe because of the new drummer. the arrangements lack imagination. the bass sound is tubby. the piano sound is what you would hear if you put your head under the lid. no swing, no sparkle, no nothin.

I got this a couple days ago. I do not recommend it.

6 cd set in near mint condition. Includes many unreleased tracks, in addition the the original lps, Miles Ahead, Porgy and Bess, Sketches of Spain, and Quiet Nights. price 60 dollars includes shipping to U.S.A. Insurance additional if desired. thanks.

Monitor Audio B2 reviewed in Feb/March Audiophile gets my vote. List is 399 and it has some bottom end. I heard earlier version of this speaker and it blew me away. Coherent sound, reminded me of being in recording studio. This is the one!

anyone hear Herring's 2003 release on Highnote?

Could someone tell me what a 1604 is and what David meant by a dixie cup setup in regard to his description of the Lovano Vanguard recording (which I think is great.)? thanks. It is important to note that even though some less than state of the art gear is used to record the tracks in some situations, mixing down using a Neve or another great console helps considerably. Also skilled engineers know how to maximize the headroom of whatever gear they are using,( a skill that many live mixers seem not to have these days. )

When mastering speed is halved, the power required for the cutting head is reduced by a factor of 4. This reduces the load on the power amplifiers used and allows them to run in a completely linear fashion. The cutting stylus is able to trace the delicate groove undalations more accurately, with major improvements in frequency response , distortion and transient response. Crosstalk between channels is substantially reduced, control over groove dimensions is improved, ahd the ability to cut high energy passages without distortion is greatly increased.

can anyone recommend this 2001 release on Highnote?

inquiring minds might want to know why today's engineers carry around preamps instead of using the console's preamp. Are the brands mentioned that much better or is it a matter of being able to bypass the console electronics for a shorter signal path?

Capturing the ambience of Rudy's living room studio is one thing, but keeping it audible through the process so it is still audible on a record is another. Because the ambient sound in a small room that is not particularly live acoustic wise is so close in time to the source sound and of such a low level in relation to the source, it would be prone to disappear in the tape hiss or system noise. When I recorded in a small room with nice ambience I would try compressing the signal so the air would come up in volume in relation to the source. I haven't had alot of experience with tube gear in studios, but the gear I did use such as Pultec equalisers tended to compress the signal somewhat. Perhaps the tube equipment Rudy used helped keep the ambient sound audible in this way, along with tape compression and using short signal paths. The aco