Bracingly realistic in 5.1. I like it even better on my own system than I did at Anderson Audio NY.
And back to music...
From Yarlung Records, released in 2023, some excellent Karnatik music in the classical tradition with an entirely acoustic performance captured in Pure DSD256. The performance occurred in the excellent acoustics of Samueli Theater at Segerstrom Center for the Arts in Costa Mesa. Bob Attiyeh used a single AKG C24 microphone (loaned by a friend of the label and previously owned by Frank Sinatra) with vacuum tube microphone amplification and directly to a Merging Technologies HAPI A/D converter. And to your ears.
Performers: Aditya Prakash voice, with Kamalakiran Vinjamuri (violin), Rajna Swaminathan (mridangam), and Vini Sundaram (tambura).
My earlier review HERE
From Yarlung Records, released in 2023, some excellent Karnatik music in the classical tradition with an entirely acoustic performance captured in Pure DSD256. The performance occurred in the excellent acoustics of Samueli Theater at Segerstrom Center for the Arts in Costa Mesa. Bob Attiyeh used a single AKG C24 microphone (loaned by a friend of the label and previously owned by Frank Sinatra) with vacuum tube microphone amplification and directly to a Merging Technologies HAPI A/D converter. And to your ears.
Performers: Aditya Prakash voice, with Kamalakiran Vinjamuri (violin), Rajna Swaminathan (mridangam), and Vini Sundaram (tambura).
My earlier review HERE
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Glad to see you hanging in here with us, Kal! Great to have your contributions.
The album is another Pure DSD256 tape transfer included in my Pure DSD256 from Analog Tape: My Top of the Pile listing. But while it has long been a reference (one of the great late 1950s Decca recordings), I’ve never prepared a review. I’m working on that now and revisiting this old friend as I do so.
Among the many factors that makes this a favorite recording of mine is that the performance uses chorus and vocalists in the production. And truly excellent ones at that. The combination of female chorus and soprano soloists (Jennifer Vyvyan and Marion Lowe) help create the fairytale atmosphere with vivid, pointed, and colorful singing. So much more complex a musical experience than just the orchestral selections by themselves. The chorus sings with the best of English choral tradition: exceptionally clear and precise diction, and superb ensemble.
Recorded by Decca 27-28 Feb 1957 at Kingsway Hall, London. Producer James Walker, engineer Cyril Windebank. Transferred from a 15ips 2-track tape.
The album is another Pure DSD256 tape transfer included in my Pure DSD256 from Analog Tape: My Top of the Pile listing. But while it has long been a reference (one of the great late 1950s Decca recordings), I’ve never prepared a review. I’m working on that now and revisiting this old friend as I do so.
Among the many factors that makes this a favorite recording of mine is that the performance uses chorus and vocalists in the production. And truly excellent ones at that. The combination of female chorus and soprano soloists (Jennifer Vyvyan and Marion Lowe) help create the fairytale atmosphere with vivid, pointed, and colorful singing. So much more complex a musical experience than just the orchestral selections by themselves. The chorus sings with the best of English choral tradition: exceptionally clear and precise diction, and superb ensemble.
Recorded by Decca 27-28 Feb 1957 at Kingsway Hall, London. Producer James Walker, engineer Cyril Windebank. Transferred from a 15ips 2-track tape.
Review now posted at Positive Feedback HERE:
I agree with Rush. Getting a copy of the Edit Master Source in Pure DSD 256 for $30 is a deal in my book. Especially when some listeners are paying $50 and up for Vinyl LPs and $450 and up for Analog Tape copies as Rush notes.
It points out the need for more discussion of the value of being able to buy a copy of the actual Edit Master Source in the recorded format and at the recorded bit rate. When that is DSD 256, the file size is too large to fit on a Super Audio CD (SACD). But it can be downloaded. And some of those Pure DSD 256 recordings from companies like Eudora. Well, they are just amazing!
FWIW, in 1958, as an audiophile interested senior in highschool, I used my lawn mowing and paper route monies to buy DGG, London, and Philips label symphony orchestra LP records at Sam Goodies in Paramus NJ, for $5.99 each. And I was shocked by the then recent price hike from $4.99! That was in the great profitable SESSION orchestra recording period, with recording sales in the 5,000 and up per LP then later CD. And unlike now, no availablity of the then industry hoarded and valued tape edit master quality. According to ChatGPT; $5.99 in 1958 is equivalent to a bit more than $66.00 today.
As with most technology rich things, time has seen significant increases in innovation and quality, while reducing prices. But not in the labor intensive classical music recording production. Have you taken note of the decline in new symphony recordings over the last two plus decades? A symphony orchestra recording today is too expensive for a label to produce and own themselves as they previously did. Now it's the orchestra's footing the artist costs, and the labels the production and distribution costs, to advance the exposure of both parties. Or, the orchestra private labeling and wholly owning the recording via an inhouse production staff, and distributing it themselves or through a distribution partnership. In both cases, it's a promotional effort to benefit the orchestra's standing and exposure.
With the exception of several specialty labels and orchestras, like Channel Classics and the Budapest Festival Orchestra, symphony orchestra recordings are made of edited multiple concert shows, with sometimes a follow-on 30 minute patch session. These are recorded in an acoustically altered venue, the result of an unaware audience enjoying the concert, while subsidizing the recording costs.
The result of rising production costs, coupled with changing music taste over time, has led now to most classical acoustic music recordings being of solo instrument small ensembles with immensely improved recording quality.
All that said, I more than agree with Rush and Brian about $30 recording downloads being a good deal; IMO, it's amazing that they exist at all!
Thanks,
Tom
As with most technology rich things, time has seen significant increases in innovation and quality, while reducing prices. But not in the labor intensive classical music recording production. Have you taken note of the decline in new symphony recordings over the last two plus decades? A symphony orchestra recording today is too expensive for a label to produce and own themselves as they previously did. Now it's the orchestra's footing the artist costs, and the labels the production and distribution costs, to advance the exposure of both parties. Or, the orchestra private labeling and wholly owning the recording via an inhouse production staff, and distributing it themselves or through a distribution partnership. In both cases, it's a promotional effort to benefit the orchestra's standing and exposure.
With the exception of several specialty labels and orchestras, like Channel Classics and the Budapest Festival Orchestra, symphony orchestra recordings are made of edited multiple concert shows, with sometimes a follow-on 30 minute patch session. These are recorded in an acoustically altered venue, the result of an unaware audience enjoying the concert, while subsidizing the recording costs.
The result of rising production costs, coupled with changing music taste over time, has led now to most classical acoustic music recordings being of solo instrument small ensembles with immensely improved recording quality.
All that said, I more than agree with Rush and Brian about $30 recording downloads being a good deal; IMO, it's amazing that they exist at all!
Thanks,
Tom
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Pure DSD256 minimally miked recording from Bob Attiyeh of Yarlung records (recorded in 2016, released in this Pure DSD256 iteration in 2024), with a the superb violinist Petteri Iivonen. Just a great set of performances for piano trio, and supremely well recorded. Says Bob in the liner notes: "We recorded the stereo version of Sibelius Piano Trio using Ted Ancona’s AKG C-24 stereo microphone with a special new-old-stock RCA 6072 vacuum tube in it supplied and calibrated by David Bock, Yarlung’s microphone technician. We chose an Elliot Midwood all vacuum tube microphone preamplifier and fed our signal into ... our Merging Technologies Hapi converter recording DSD256 using Pyramix software."
A multi-channel Pure DSD256 version was also recorded during the same sessions, using a separate microphone array, by Tom Caulfield.
My earlier review HERE.
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As you may be noting, Pure DSD256 includes transfers from analog tape if no PCM editing has been involved. And whenever I've had the opportunity to compare a DSD256 transfer from an analog tape, back-to-back to the tape itself, I can't hear the difference. The DSD256 transfer is that good. I've mentioned this before. It's like having the tape in house for your listening enjoyment. So, this morning's little pleasure is a BIG DEAL -- Miles Davis' Milestones from a 15ips 2-track tape...
Sonic bliss with the greatest sextet ever assembled: Miles Davis, John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers, Philly Joe Jones. Yep, the transfer is another excellent production by Bob Witrak.
For grins, I pulled out my DSD64 rip of the MoFi SACD to compare. No contest. The HDTT is cleaner, more open, with greater resolution. Just more fun to listen to, as well. Perhaps it's because of the excellent external Merrill tape preamp Bob uses, perhaps the DSD256. I don’t know. But the new HDTT release is a nice overall step up in sound quality. The CD? Oh, don't bother.
Sonic bliss with the greatest sextet ever assembled: Miles Davis, John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers, Philly Joe Jones. Yep, the transfer is another excellent production by Bob Witrak.
For grins, I pulled out my DSD64 rip of the MoFi SACD to compare. No contest. The HDTT is cleaner, more open, with greater resolution. Just more fun to listen to, as well. Perhaps it's because of the excellent external Merrill tape preamp Bob uses, perhaps the DSD256. I don’t know. But the new HDTT release is a nice overall step up in sound quality. The CD? Oh, don't bother.
As you may be noting, Pure DSD256 includes transfers from analog tape if no PCM editing has been involved. And whenever I've had the opportunity to compare a DSD256 transfer from an analog tape, back-to-back to the tape itself, I can't hear the difference. The DSD256 transfer is that good. I've mentioned this before. It's like having the tape in house for your listening enjoyment. So, this morning's little pleasure is a BIG DEAL -- Miles Davis' Milestones from a 15ips 2-track tape...
Sonic bliss with the greatest sextet ever assembled: Miles Davis, John Coltrane, Cannonball Adderley, Red Garland, Paul Chambers, Philly Joe Jones. Yep, the transfer is another excellent production by Bob Witrak.
For grins, I pulled out my DSD64 rip of the MoFi SACD to compare. No contest. The HDTT is cleaner, more open, with greater resolution. Just more fun to listen to, as well. Perhaps it's because of the excellent external Merrill tape preamp Bob uses, perhaps the DSD256. I don’t know. But the new HDTT release is a nice overall step up in sound quality. The CD? Oh, don't bother.
Interesting. Doesn't the old tape need equalization to compensate for aging effects, mostly expected in the treble?
Some do, to be sure -- and those get whatever attention in PCM is required to make them listenable. But, many are in excellent condition if they've been stored well. Witness all the Pure DSD256 albums from analog tape HDTT has released over the past several year. Some, like this album, Milestones, from the 1950s. Others from the 1960s,* '70s and '80s. If Bob Witrak releases the album in Pure DSD256, you can be assured he thinks the source tape is excellent. The treble response is more durable than many think.
* Note: if HDTT has released something recorded later than about 1964, Bob has license rights to the materials. So, these will be tapes from recordists like Jonathan Horwich at International Phonograph Inc and a few others. Or they may be the Desmar master tapes salvaged from discard by John Haley and provided for release after restoration.
PSA: Bert van der Wolf (Northstar Recordings | Spirit of Turtle) has increased the sale to 35% OFF for this last weekend of the End of Summer Sale. The discount applies to the entire catalog. (The artwork below needs updating.) This thread has highlighted a number of excellent albums from Bert.
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This morning's outstanding DXD download is this album of Handel & Bach cantatas, with instrumental music by Handel & Vivaldi. Outstanding performances by Florilegium and Rowan Pearce (soprano). A Jared Sacks recording in DXD original recording format. Listening here to the DXD 32-bit release (HERE):
And this afternoon's Pure DSD256 download is yet another stunner of a transfer from 15ips 2-track tape by Bob Witrak at HDTT, released today:
positive-feedback.com
Miles Davis Sextet Milestones hdtt - Positive Feedback
Miles Davis Sextet Milestones hdtt
positive-feedback.com
Hi Rush,
If they also do the Yarlung Korpoo Trio, that will probably also sound terrific based on the vinyl version. Cheers,
Spencer
Hi Spence, great to hear from you again on the thread! The Sibelius Korppoo Trio is on this DSD256 double album release in Vol. 1, tracks 6-8. Nicely performed!
Once upon the time, I had the LP of this. I was so pleased when Bob Attiyeh made the DSD256 release available.
Mozart’s Requiem in the late afternoon… I’ve been enjoying this recording from Manfred Honeck and the Pittsburgh Symphony Orchestra. It is crafted as a full concert experience with spoken interludes by F. Murray Abraham (wonderful readings) and additional instrumental music from Mozart’s Masonic Funeral Music and Gregorian Chant. Treated as a concert, with due attention to it as such, it is a dramatic & engaging album. Perhaps the best choral music recording I’ve heard this year. A Mark Donahue recording and mastering, so it’s got lots of good sonic DNA. I’m listening to the DXD 32-bit release and it sounds pretty fabulous. HERE
I really like this in almost every way but I am glad that it can also be reprogrammed so one can listen only to the tracks of the Requiem without interruption. This, like Nagano's recent re-creation of Brahms' Deutches Requiem inserted elements, will not endure repetition as well as the unadorned originals....... IMHO!
Agree with this. One of the joys of computer files in playing digital downloads -- set up the sequence of tracks you want to hear!
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