I agree that for vinyl, an original pressing mono 6-eye is the way to go.
IME, the Columbia mono 6 eye jazz recording of the late 1950's to early 1960's are amongst the technically best soudning jazz recordings ever.
Jazdoc,
What are the aspects that make consider that a mono recording is better than a stereo version?
Thanks, Roger. That is fascinating. I didn't know that they messed with the speed to give it a better groove. I guess it would make sense that pace would be more important to pitch.
Your link didn't get to the right place, but I found it:
http://www.artistshousemusic.org/videos/teo+macero+on+the+arts+of+editing+and+mixing
Let me preface my answer by stating that I really like well recorded mono and react strongly to unnatural stereo effects ,i.e. drummer with 18' wingspan drumming in both speakers. (...)
Now all this may change once I put the Benz LPS on the new Telos arm while the Miyajima stays on a Talea II
Recording of this classic? I see many mediums sacd,redbook cd,45rpm vinyl and 180 & 200 gram vinyl.
There is also 2 track tape and 4 track tape which is the best for sound and closest to the actual recording master.
I was fortunate enough to lay my hands on a 45rpm -pressed single side -4 LP sealed copy. Played it once and recorded it straight in 2xDSD for repeated playback on my Korg. Probably the most musical bass notes I have ever heard from any version. And instrument sizing is perfect.
Though 'mep' your version must be terrific too, and you are right -overloading of the mikes do show up.
Can I ask you what is the size of those 2xDSD files?
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