I like those two albums from here a lot and these two are available already on Qobuz, but anyone have them already downloaded and can confirm if 24/96 files are legit, not upsampled please? Thank a lot in advance.

JAZZ AT THE PAWNSHOP - An Audiophile Classics

When recording engineer Gert Palmcrantz was loading his car with equipment outside Europa Film Studios on December 6th, 1976, it was only to make one of many recordings. No one knew then that it was to become a cult recording among audiophiles and one of the most appreciated jazz recordings ever made.

Palmcrantz put the equipment in the car and drove off to Stampen, the jazz club in Old Town of Stockholm. It was far from the first time he recorded at Stampen. The club, named after a pawn-brokers' shop which used to be in that block, opened in 1968. That same year, Gert was there to make a recording of, amongst others, the clarinettist Ove Lind, the vibraphonist Lars Erstrand and the drummer Egil Johansen. He was subsequently to meet the latter two again at Stampen's small stage, together with saxophonist Arne Domnérus, pianist Bengt Hallberg and bass-player Georg Riedel. Palmcrantz knew them well from before.

It wasn't particularly cold and there was no snow, despite it being the beginning of December. Palmcrantz arrived in good time in order to get everything ready before the band started to play at around nine that evening.

All those who have visited Stampen know that the ceiling is about four metres high and that the venue houses around 80 people. The stage was placed in the right-hand corner seen from the entrance, and so small that it only just carries a grand piano and a small band. Palmcrantz rigged the main microphone pair facing the stage, about two metres above the floor. These microphones were Neumann U47 cardioids, spaced 15-20 cm and inclined at an angle of 110-135 degrees.

This ORTF stereo technique - named after the French radio which introduced this simplified dummy head technique at the beginning of the sixties - was, according to Palmcrantz, the best method for optimal stereo effect and spatiality.

- Real stereo effect can only be achieved by placing the microphones in a similar way to the disposition of the ears.

Such a pair stood in front of the stage at Stampen and another pair was placed to the right of the stage, facing the audience in order to recreate the right "live" feeling. Some auxiliary supporting microphones were also necessary. One microphone was placed next to the grand piano standing on the right-hand side of the platform with its lid open, and Palmcrantz hung two cardioid Neumann KM56s over the drums on the left side of the stage. The bass, standing in the middle, and connected to a little combo amplifier on a chair, was supported by a Neumann M49, also in omnidirectional mode. The microphone was placed in such a way that it caught sound both from the instrument and from the amplifier's loudspeaker. The electric amplification of the acoustic bass is particularly noticeable in the song In a Mellow Tone, where there is a slight distortion.

Once the microphones were set out, all that was needed was to connect them all up. In those days there were no multi-cables, so Gert Palmcrantz had to lead all the eight cables from the stage, past the bar and through the kitchen to a little nook between a refrigerator and a pile of beer-crates where he had built his makeshift studio: a Studer mixer, two Dolby A 361 noise reduction units and two Nagra IV recorders which he used alternately since the seven-inch reels only lasted for 15 minutes at 38 cm/second. He rose the U47 microphones slightly in the treble. The audition was made through two old Ampex monitor loudspeakers with built-in amplifiers.

Gert Palmcrantz has described how it sounded when he later listened through the first test reel:

"Following a few test tones there is a trial run of an almost empty room. The clattering of chairs and tables and clinking glass emerge in almost three dimensional stereo. I have just rigged my faithful U47s above the stage and put a test reel on the tape recorder. I mutter something about a broken wire to the piano mike on the right, swearing as my finger is caught in the mike stand by the drums, and I order a beer in advance.

Then there is a commotion at the other end and I recognize Egil Johansen's contagious laughter as he and Arne Domnérus come bursting in, kidding each other amiably as they approach the stage. Various ceremonies take place and Arne quips at me. "Well, here we go again. So, nothing escapes you - thank God! Ha-ha-ha!" A hubbub ensues. The audience has arrived in high spirits. On stage you can hear Bengt Hallberg running his fingers over the keys, Egil Johansen tightening the skins and Georg Riedel plucking the bass. The smell of smoked sausage and foaming beer, blending with that of the more familiar scent of sour wine corks and detergent, lingers over the sound image. "Dompan" (Arne Domnérus) kicks off Over the Rainbow and the audience simmers down to an approving murmur."

No soundcheck or balance test were actually made. Once the quartet had started playing, Palmcrantz quickly had to set the levels as precisely as possible. After two tunes he had managed to achieve the right balance.

Gert Palmcrantz taped one song after the other, alternating recorders towards the end of each quarter of an hour so that he could join the tunes that were played in-between tapes. It is interesting to note how accomplished the musicians are, since everything could be recorded in one go without any cuts. There is one exception, however: at the end of one of his drum solos, Egil Johansen happened to miss a beat and messed up his entry slightly. Gert Palmcrantz cut that bar out and those who want to can amuse themselves by trying to find this almost imperceptible cut.

Otherwise, Gert Palmcrantz let the music flow freely and hardly touched the dials at all - no gain riding, simply small adjustments were made for solos or when the applause from the audience became too loud. The result was about two and a half hours worth of taped music every night.

The second night, the band was joined by vibraphonist Lars Erstrand.

- He arrived earlier than the others to have time to set up his instrument, remembers Palmcrantz.

Lars Erstrand was testing his vibraphone only to find that one of the fans was squeaking. Palmcrantz had to go and find a bottle of cooking oil in the kitchen for Erstrand to lubricate the spindle.

Then the rest of the band arrived and the recording could begin, practically with the same arrangement of microphones as the previous evening. The difference was that the stage was a little more crowded this time, as can be heard in comparison. Lars Erstrand popped in to the control room to check the sound of the vibraphone.

After the recording, the original tapes were edited to a double LP by Gert Palmcrantz in collaboration with the musicians and the producer Jacob Boëthius. The sound quality of this record soon won the reputation of being remarkably fine, much to the surprise of Palmcrantz and the musicians who thought their earlier recordings were just as good. Something, however, must have been just right these evenings, and one mustn't forget that skilful, imaginative, sensitive and inspirated musicians are absolute requirements for a recording to rise from "good" to "excellent". Palmcrantz' microphone technique transmits Bengt Hallberg's subtle touch, Arne Domnérus' characteristic tone and Egil Johansen's distinctive drumming - and all instrumentalists are presented in a sound image that is both intimate and airy.

On really good equipment you can hear people eating, the clinking of cutlery against the plates or conversations round the small circular tables. Here and there, among the chink of glasses and the rattling of the till, you can clearly hear the musicians talking, difficult to understand for listeners who don't speak Swedish. "What's the tempo?" someone asks before Limehouse Blues, followed by the comment "The first tempo; normal tempo", demonstrated by foot-tapping. After I'm confessin', a jolly man in the audience exclaims "Hey! That was a good old song!". Sometimes you can hear other music in the background - that of another jazz band playing in the basement below, the so called Gamlingen (Oldie). There are undoubtedly many details to be discovered here!

Stefan Nävermyr

I own a Specialty Pressing 1977 original that is damn shrill (and I listen to my analog rig with the solid red response that seats well between Harman/Toole and Bruel & Kjaer , mighty fine with most Lps and my analog parametric equalizer has limited possibilities) and the 24/192 files from HDTracks mastered by who knows who.

Played mighty loud the 24/192, with the solid blue in room response (found can't remember when and where as JBL M2/ Harman Audio Test System), has a bit muddy bass but is overall quite enjoyable.

Feed back on the Kevin Gray or alternate digital source welcome

Having a relatively large Hi-Res audio collection, but playback chain that only allows a maximum 24-bit / 48.0kHz, I have used multiple tools over the years to Resample higher resolution files down to 24-bit / 48.0kHz for playback.  I've used many tools and each have particular features and characteristics that may prove more or less user-friendly, but ultimately I'm after the absolute "best" result.  I have searched online in various ways, but have been unsuccessful, to date, in phrasing/framing my searches in a manner that has answered the following question:

When Resampling, is it best practice to retain full frequency spectrum information within the file, up to the maximum sample rate of the resultant, resampled file?  Or, is there some reason, scientific / objective / subjective, or otherwise, to strategically filter out frequencies in the upper range for a superior finished product?

Example/Case in point:  Here is a High Resolution audio track (see uploaded image/attachment #1), originally available in 24-bit / 96.0kHz.  From the Spek spectrogram analysis of the track, you can see that there is audio information present up into the ~43 - 44kHz range.

Using two different tools, dBpoweramp and Isotope RX 10, dBpoweramp (free software) resamples the 24-bit / 96.0kHz files to 24-bit / 48.0kHz audio file, and retains audio information all the way to the maximum 24kHz "ceiling" (apologies for lack of proper term, I assume) - see uploaded image attachment #2.  Whereas, the $299, highly-touted Isotope RX 10 (I'm in a 10-day free trial period) "cuts off" / (strategically?) filters out frequencies in the upper couple of kHz, leaving "room" (empty space) in that upper ceiling of the frequency spectrum - see uploaded image attachment #3.  

I asked this question on another audiophile forum, years ago, and was shocked that no qualified opinions or viewpoints were shared.  My intuition screams that the full retention of audio information up to the maximum frequency range would be best, no?  I mean, after all, it's leaving in sound information that audiophiles seek after and cherish, right?  However, having used countless other tools, like RX 10, which "cut off" / "filter out" information in the upper frequency spectrum, I can't imagine it is simply due to inferior Resampling technology.  I assume there are reasons/purported "benefits" for this.

p.s.  I'm not interested in anyone's rhetorical, soapbox rant about how you can't hear the difference, so it doesn't matter; or, "which one sounds better to you?" responses. 😄 

Thanks in advance!

Is there a way to enlarge the frequency band in MusicScope ?

Below is a list of the the titles/ID#s, but these really are better than my other early Polar/Polydor CDs.

It was really surprising indeed, and my excitement is somewhat profound, because I just happen a few days ago to have gotten the decoder software fully functioning.

Very much enjoying versions that are obviously much closer to the mix than my other copies .  (Even closer to the mix because the pre-distribution processing is removed by the software.)

The sound is 'dry', relatively uncompressed.   Clean highs, more distinct, unburied 'S' sounds.  Almost *no* garble...

Really amazing, clean, crisp ABBA.   This is NOT just the result of decoding, but the CDs are as clean as conventional distribution I have ever heard to begin with.

Waterloo 550 0342
ABBA 831 596-2
The Visitors 800 011-2
The Album 821 217-9
Voulez Vous 821 320-2
Ring Ring 843 642-2
Super Trouper 800 023-2
Arrival  821 319-2

These appear to be very notably better than other CDs from the same manufacturer and ID#.   In some cases, however, the ID number is different than my previous ones, in other cases, the ID is the same.

Has anyone ever seen such profound variation witih the same ID?   For example, my first, previously utilized Polydor 'Ring Ring' with the same ID has a more 'garbled' sound than the one I just opened up.  I investigated these new ones because I was informed that these were an 'original', 'high quality' version.   There is *definitely* a big difference.

How does one distinguish?   This is telling me that distribution copies with IDs that match might sound different?

Are there other codes that can distinguish?

Is this showing a generation loss on my previous copies?

It could well be my imagination, but to me it sounds just a little less crystal clear than current high quality digital recordings.

I am working on my new speakers and found that this track (Melanie di Biasio - Afro Blue) shows a annoying dissonance in my left channel wideband chassis. Listening through Qobuz in the car I wont get that.
So I went from the seller over to the manufacturer, after I checked that it occurs on the same speaker with different amplifier.
However, while researching further ,I could exclude the speaker chassis itself, the amplifier and the XLR cable, because the dissonce changed with changig cables to/from amp to the other channel.
So I checked at the DAC (the OKTO RESEARCH 8 Pro), where I routed the two left input channels into two diffeernt outputs, with simply the same result. I changed USB outputs at the music server. Same result. I changed the source from local to Qobuz, routed through WDM into JRIVER and output through ASIO into the OKTO. Same result, even a bit harsher as the Qobuz output seems a bit louder in general ...

Thus, I can't replicate that problem with other recordings. So I would like to ask you, my friends, to listen to the track (Qobuz version 24/44) in order to confirm or not confirm dissonances in the left channel (like a very fast ticking).
Thanks in advance

Tom

Arthur Baker explains how the song was made, both from a technical standpoint, and what the "creative process" was. Lots of fun anecdotes. 

The timeless song that still sounds fresh today:

https://en.wikipedia.org/wiki/Planet_Rock_(song)?wprov=sfla1

He also mentions "Looking for the Perfect Beat":

Quote

"Paul Gonsalves was a premier sideman for the Duke Ellington Orchestra from 1950 until his death in 1974, ten days prior to Ellington's passing. He was a driving, powerful soloist featured on numerous swing numbers, a style that reached its height during his historic solo bridging the two movements of the Ellington Orchestra's performance of “Diminuendo and Crescendo in Blue” at the Newport Jazz Festival in 1956. However, Gonsalves is also well remembered by fellow musicians and followers of the Ellington Orchestra for creative and highly personal renditions of Ellington/Strayhorn ballads such as “Chelsea Bridge”, “Happy Reunion”, and “In a Sentimental Mood”, as well as standards like “Star Dust”, “Body and Soul”, “Don't Blame Me”, and “Days of Wine and Roses”."

I put together a Qobuz playlist of some of the "highlights" mentioned on that site, with a few of my own additions: https://open.qobuz.com/playlist/10246872

There is a wonderful video of Gonsalves performing "Happy Reunion" with Ellington at the University of Wisconsin, in 1972. I believe the video used to be available on YouTube but seems to have been taken down. The full film of Ellington's week at Wisconsin is available here: https://ellington.se/ellington-meetings/ellington-2022/presentations/ellington-at-uwis-july-1972/   

Happy Reunion starts at 59:00.

Repetition is the image of eternity in music
The music of the past justifies itself for its limitation
The music of the future is sparing itself this effort

I wondered what Audiophile Style folks might make of this particular poetry.

To me?

Line 1
Repetition contributes significantly to the “form” [cf. philosophy] of music – has to do with brain no doubt – and to me language also. Cross-cultural. Universal.

Line 2
My wife – a gifted soprano – jokes that there are only so many ways you can put notes together to make music. I disagree with her. Mathematically she may have a point. But not regards music as language. Perhaps Hoenig is intimating that repetition is more prevalent the more primitive the music.

Line 3
The evolution of music avoids repetition. Artists want to be original. Frontier music (not cowboy stuff – rather, music just evolved) leans less on repetition for structure and appeal.

Your thoughts welcome … I haven’t (yet) heard the Album … anybody know it? How the poetry and the music relate?

Have to admit it is, to my ears, a collection of mumbly and indistinct songs and I am left wondering if this is due to the artist, her compositions. the record quality or simply my biases.  

I am quite surprised as she is such a talented and original voice with each of her works a new and original addition to her catalogue.  

Is this just one of those works that takes some time and will become, after time passes, a favourite?

Any comments or opinions would be welcome.  

2013 Stereo (DR11): 

2022 Mono (DR10):

2022 Stereo (DR11):

The 'slimey' sound on the ABBA Gold reminded me of DolbyA, but never seriously tried it.   Did some tweaking, and found the formula:

On sox:  treble -3 9k 1.414q

Use the DA decoder section of the FA decoder, with a --tone=-18  (normal tapes are often --tone=-13, or -14.4 or somes -15 so, where -13 is near the bend of one of the DolbyA curves.)

Voila -- decoded ABBA Gold, not slimey sounding.   Still experimenting -- might need a few more tweaks for perfection.   I tried SuperTrouper (cut 6) and SOS (cut 10).  The vocal on SOS is a bit jarring, the intro is a bit dead sounding.  The weird electronic sound mostly on the right hand side is quite audible.   Since my DA decoder might have a minor threshold issue, there might need to be some minor tweaking of --tone.   --tone=-18 is 3dB away from -15, so that seems normal.  I'll be using it now to fine tune the DA decoder, hopefull before the release after the next one.

So, all you gotta do is do a -3dB at 9kHz, and you can hear what DolbyA sounds like.

John

Just received, from Presto Classical, a new issue 11 cd boxed set and DVD of works by Ivan Moravec.  None of these, other than the first, have no metadata and simple list as track 1, track 2, etc..  None of the album information is populated by dBpoweramp.  I can add the track titles, etc using Yate but for a nuanced classical set this is clearly a PIA.  Anyone have any similar experiences with discs from Supraphon?  Any suggestions?

Cheers,

Well I listened to that cut yesterday and I could barely hear the triangle at all!  I thought the sound system had developed a “glitch” but then realized that, to my horror, it was probably my ears that have gone off.  In order to make the tune sound acceptable, using JRiver MC's equalizer funtion I had to crank in about a +7db parametric filter at about 5.500 khz with a Q of about 1.5 to fix it.  The same thing held true on another system and even through headphones thereby confirming to me that my hearing has begun to crap out.  I suspect at some point I my schedule a visit to an audiologist to confirm these unscientific findings.

The point of all this is to say that I am asking myself that it may be time for me to stop investing lots of time and loads of money in search of audiophile nirvana if, after all is said and done, the sensors in my head have begun to fail.  I suspect the truth of the matter is that, until science and medicine can develop a high quality direct interface from my audio system's electronics directly into the part of the brain that allows me to hear bypassing the ear itself, the spending of any more money on the latest DAC, cable or speaker system will be in vain.

It sucks to get old!

Your thoughts?

Well, well, have a good listen to the remixed Godbluff and Pawn Hearts. Without even looking at the DR (JRMC DR 10 for Godbluff), for once and very rare is a remaster and remix actually sounding better than the fodder on digital's previous releases. Far more open, imaging and instruments are well picked, and this is redbook. Highly recommended!

This about the so-called “CRY” recordings of The Byrds (ostensibly anyway) around mid 1980s – perhaps a bit later.

CRY is an acronym representing Gene Clark, Pat Robinson and John York (thus no Roger McGuinn). Nicky Hopkins also involved.

There is a significant resource aside from my own instincts and passion for some of these recordings. It may have expired online. Credit straightaway to Mike Masterson. I have a print-out of his notes last updated January 8^th 2010. My remarks refer to information gleaned from Masterson and my own reflections.

These recordings were unreleased until soon after the millennium. I have 4 non-bootleg CDs which afaik in the aggregate isn’t missing anything significant:

‘Mr. Tambourine Man’ [EUROTREND 152.435] (released 1999/2000)

‘Alternative Takes’ [LASERLIGHT 21 579] (released 1999/2000)

‘It’s All In Your Eyes’ [POP STARS PS 95620] (released 2000)

‘Most Famous Hits – The Album’ 2 CD [SURPRISE 95331/2] (released 2001)

NB: ‘Alternative Takes’ suffers from Loudness. The others are good.

Some of the songs are Byrds mainstays. Others are new compositions – especially courtesy Pat Robinson. Some result from collaboration between Clark and Robinson only.

There are variations in the lengths of some tracks and the extent to which they have been edited and/or overdubbed. I find these a matter of mere preference – not fundamental better/worse.

Having reviewed in my own Library, highlights in alphabetical order are:

“As If We Didn’t Know” – written and lead voc. Pat Robinson. Fantastic mojo. Awesome grunge and lead guitar. I can’t explain the mojo. Stands head and shoulders above “ordinary” Byrds stuff, and I am a Roger McGuinn fan who appreciates his talents. I’m not talking about technics. I’m talking about music. Goose bumps. Meaning. What the hell are we all doing here. etc

“Boyfriends, Girlfriends” – written Clark & Robinson / voc. Pat Robinson. Again – so good it’s painful. Two versions. One with horns. The other with guitar solo (on ‘It’s All In Your Eyes’ only). Both versions Ace.

“Dangerous Games” – written Clark & Robinson / voc. Gene Clark. ‘The Album’ version slightly shorter. One of the best few CRY tracks. Over 6 minutes of pulsating heaven. Great driving music!

“Dragons Eye” – written Clark & Robinson / voc. Gene Clark. Wonderful. One of the best. If you want to get spaced out/high without drink or drugs, try this one.

“It’s All In Your Eyes”. On ‘It’s All In Your Eyes’ only. Not in the CRY top tier. But it has the magic. I notice it’s a Pat Robinson song. Seems Pat deserves some recognition for his musical gift. [This said, “Next Time Around” and “One More Two Time”, which are likely solely Pat Robinson, are not among the best.]

“Love’s A Loaded Word” – written Clark, Robinson & Hopkins / voc. Pat Robinson. Awesome. Among the best. Screaming guitar. All this emotion in both Pat Robinson’s vocals and the driving guitar. I don’t know who’s responsible for the best axe work.

“My Marie” – written Clark & Robinson / voc. Gene Clark. One version significantly abbreviated from the full version which is over 6 mins. Bliss. Soaring Can’t believe it’s really you my Marie … You were meant to be with me Marie.

“Prisoners Of Time” – Hauntingly beautiful. A solo Pat Robinson composition! One version is shorter/edited.

“Quicksand” - written Clark & Robinson / voc. Pat Robinson. Top tier CRY.

“Tell It Like It Is”. If you like this Aaron Neville song written by Davis & Diamond, you have to hear the CRY version – which you may not recognise readily. In the very top CRY layer with “Dangerous Games”. Life is too short to have sorrow. Here today and gone tomorrow. And so you might as well get what you want. Baby and live. Girl go on and live. Tell it like it is. Oh like it is. Tell it like it is. Like it is.

“The Panther” - written Clark & Robinson / voc. Gene Clark. Top layer CRY.

“Washington Square” - written Clark & Robinson / voc. Gene Clark. Mentionable

“Where Does The Love Go” – written Clark, Robinson & Hopkins / voc. Pat Robinson

I will add, in fairness, that among the tracks I haven’t mentioned, a few are naff. Chestnut Mare is hopeless and not a patch on the The Byrds-proper. I don’t have enough information to understand why some CRY tracks are transcendental and other take-or-leave. Something to do with differences between recording sessions/leadership?

Please do chime in if you have information – or any reflections of your own to share.

I don’t mind if there is a broadening to all Byrds. But really – I want the exceptional mojo of some of these CRY tracks to be celebrated.

Taster – “As If We Didn’t Know” [NB: The picture on the CD cover here is misleading - Roger McGuinn has nothing to do with CRY] …

https://www.qobuz.com/us-en/album/the-q-sessions-christian-mcbride/c4ku2vt3v36ja

So does Hi-Res make a difference? Absolutely! Comparing the same song at CD extracted 44.1 KHz 16 bit wav files to Hi-Res 192 KHz 24 bit wav files is like Chalk & Cheese. 😂

The nay Sayers have their systems set up wrong?