Today, it is a rarity and a great pleasure to commune with works of particularly high quality. I mean both together - musicians and engineers MASTERPIECES. Thank you very, very much!
Oh my god bro, even through TH-cam, those two recordings, what we got to hear, are fantastic. I’ve listened to these two albums a million times, but the soundstage here blew me away. I cranked it up. Very moving. Thanks so much 👏👏
Ciao Guido, Grazie Millie for the thoughtful, thorough and comprehensive review. At one time I had seriously gone down the reel-to-reel rabbit hole. I have an Otari MX 5050 BIII and Revox A77MkIII + a fair number of “supposed” master tapes. It was all good fun at the time searching and collecting so-called master tapes, but as you have previously pointed out, a lot of the times it was hit and miss and I have been disappointed more times than I care to recall. After my retirement, I thought about about resuming my reel to reel tape addiction, until I started to do the “cost-benefit “ analysis in my mind. I found that re-issues of “master tapes” were a small fortune (as you have described) and my sources for second-hand copies of tapes (typically production masters) had dried up, and/or the prices were astronomical, and/or the provenance of what one was buying was questionable, at best. So, I sort of switched gears. While I still enjoy watching the reels turn, all of my new acquisitions (especially classic jazz) are now on DSD. I have a Tascam DA-3000. A professional DSD recorder used for mastering and 2 track recording where there won’t be any subsequent editing. (DSD has to converted to PCM to be edited.) I have a DSD copy of Kind of Blue that I downloaded from High Definition Tape Transfers in Canada and then copied to A CF card. The DSD file supposedly is a direct one-pass copy from a “master tape” (no doubt a production master). High Definition Tape Transfer doesn’t offer the stated provenance of Hemiolia, but then again, the DSD file download only costs about $25.00! Anyhow, after listening to your comments about the sonic differences between your new Hemiolia tape and your original tape, I popped my CF card (which holds about 9 albums by the way) into my Tascam DA 3000. The outputs of the Tascam went into a Mark Levinson pre-amp, them to a Conrad Johnson tube power amp, that fed Apogee Duetta speakers and dual subs. I would have to agree with your assessment of your original master tape vs. the Hemiolia “re-master”. What I heard in my room through my system from the High Definition Tape transfer was electrifying, immediate and transparent. A sense of real sonic realism in all respects. I suggest that you pick up a used DA3000 (they are no longer in production but you can probably find a used one for less than what you paid for your 2 Hemiolia tapes) and then do shoot-out of all 3! Now, that would be really interesting.
Yes, I agree it is all insanely expensive and in most cases a true disappointment. Even the tape from Sony was a joke! I love DSD but I just have a stronger connection with analog or old well-mastered CDs...I just need physical media...but your solution is very interesting. Perhaps I may try in the future...
I also listened to the HDTT version and compared it to a flat transfer from an original 7 1/2 IPS tape using a Foobar Abx plug-in at the same volume. The 7 1/2 tape has much more presence and an "air" atmosphere that HDTT does not appear
Hi, Thank you so much for these two marvelous jazz albums discover. I am a novice in Jazz music but I simply prefer old recordings that sound better in my ears than new ones (with far too much amount of bass). Nice video BTW, keep up the good work.
He Guido, great and very detailed video again. I love it when you review music, especially jazz and blues. These two genres you also like if i’m right the same as i. I find jazz and blues for audiophile listening the perfect kind of music. Looking forward to your next video, so Thank you very much for your great videos, and keep it up.👌🏻🎶
Wow, I could hear the difference of the master tapes immediately. Great show. It gives me a good feeling in the stomach after a week full of work and an hour in the gym. I love it.
@@semilog643 Yes, I definitely heard a difference. Of course, it would be much better to identify differences when the music is heard directly on the system the TH-camr uses.
Guido greetings from Uruguay!! great video as always. Shout out to the arquitect's collection man. In my windows PC the differents between the tapes are very very noticeable.
Had a great demonstration indeed. Having said vinyl somehow goodbye i am now remastering for amateur artist's recordings in pro DAW environments. And yes, they mostly want the more forgiving sound that my official Studer J37 emulation offers (not meant for mastering - but mixing). I also know how to get reasonable vinyl remasters - it's hard but i never go for 'correction' or any kind of artefact - normalizing can be brickwall limiting. In the end, passive equalization offers more possibilities than active (boosting) equalization. So, from a fully digital guy i send deepest regards to fully analog music ❤ man. In fact, I heard my first Rush records on Reel to Reel Tapedecks at a friend' father equipment
The cymbals! There’s compression and wash compared to your version. The tone and reverb tail on the piano is much fuller and clearer on your American master. Great to hear things on the recording I never heard before-thanks!
As I recall, one of the issues with Kind of Blue was that the session tapes on some of the tracks had been running slightly slow or fast, resulting in them being slightly off pitch. On the CD reissue, this was solved by using the backup session tapes. Do you know which session tapes this version is based on ?
Unfortunately I know nothing of the source, except that the Architect who sold all his collection to me assured me that they were all quality copies (which of course doesn'tmean much), but I have three photocopies so I think it is coming from the original 3 channel session tapes.
I want them! Do you think they will sound better on my Otari MX-55 or MX-5050 BII than your Studer (as the tapes were recorded on an OTARI MRT-15 deck sharing many parts with the MX-55)?
Unless you have that precise Otari calibration the machine is irrelevant. The preamp is relevant and in fact soon I am going to revolutionize my setup. Stay tuned! The 5050 should do the trick excellently!
What can you do to improve the 5050? The MX-55 is a more modern and expensive machine with better electronics (and sounds slightly better than my mint, professionally calibrated 5050 BII).@@anadialog
Ciao Guido dude! This is a very intriguing discovery. I am suspicious now if Ermitage is actually the closest to the original master recording in existence. Reason being is that my original cd and your master copy clearly to me have the same grand daddy which is probably AAD recording for cd, where yours might have been copied AA before D, but the same remix. Great fun though. Thanx man!
If you check the comments Michael Fremer says that the Ermitage was sourced from the session tapes in 2000 from a mix down done at Battery studios, which means the final copy is a 4th Gen.
Thanks for the sound comparison!!! The orange copy sounds liquid, but a little bit like a flatscreen. Your CBS Copy has more aura, magic. And its more precise. I listened with Headphone Hifiman HE 560/II with Cardas Cable and Dekoni sheepskin earpads. Source: AppleTV HD at Trenntrafo by Shindo, Furutech LAN Cable after 3 Netswitches powered by Linear Supplys (Ferrum Hypsos, Keces P8, the Router too) plus 3 Network Isolators Pink Faun and iFi. Headphone Amp: McIntosh MHA 150. Hope, Plus Reclocker from Mutec at Cardas Coax-Digi-Cable. that my Listening chain is good enough.
I felt your own master version tape has more sense of a vintage tape. The new Himalia master version is cleaner and lighter and has more resolution without doubt. But If I must choose one to listen my pick is your own master tap. It has more dynamics, guts, and blooms. I owned a 2nd generation of original Blue Train Vinyl and I use it as my reference. Cheers.
Thanks for your intresting video Guido! I have an A77 hs 7.5/15 ccir . My machine is adjusted to work with lpr 90 reel. Can i handle 320 nwb fluxivity in reproduction? If is not ideal what could happen if i try to reprocuce such level of fluxivity ? I find also in another cases hard to find the value of fluxivity so i'm a little bit doubtful about the ideal fluxivity for my machine.
Hi Guido, Please correct me if I'm wrong. From your explanation I understand than the Heritage production copy is made for LP pressing, meaning with RIAA equalization ?
I think you got me wrong. Most master tapes are mastered for vinyl. Now I don't know what is the case of the Hermitage copy but clearly, since it is a production master, it was probably optimized for vinyl. This, in any case, does not mean it has a RIAA eq, that was done during the cutting phase. While the Benini Master is surely more flat (even though it can't be that different since Benini did not make his master from the session tapes).
@@anadialog la indovino con una !!! 😂beato te 😉appena fatto restaurare il Revox A77 spero di riuscire ad acquistare anche io qualche bel nastro preregistrato 😉
I've measured out both normalized versions. In the Hermitage copy are noticeable a hard roll-off leading to a low noise floor from 19 kHz upward and 3 dB higher peaks (TPL). Your 'Anadialog' copy has a slight level drop, ending at 20 kHz and a further decreasing level to the cut-off frequency of the AD-Converter.
Very good review. I have a digital copy of the master pink floyd wish you were here 15 Ips and the difference with vinyl is really noticeable. the sound range is totally open.
@@anadialog I too have a 4520, great machine. I also have a PR99! I've bought a couple of ebay "master copies" but I have still to find a low generation one.
Excellent video, so thank you. Have you ever played a white label promo LP of "Kind of Blue" ? I am fortunate to have a copy, and it sounds stunningly good to me. I agree with your appraisal of the tapes and sound qualities you discerned - your tape definitely had more spatial presence and resolution, to my ears.
Yea there’s a difference even after interface and YT. Regarding KoB, the Hemiolia master looks weak on the VUmeter BUT man it’s all about the clarity, you can hear Miles’s timing vs the others during the intro, man Trane’s tenor is CRISP the attack is heavenly, the ride cymbal is FAT and the bass is louder than any other version but defined and NOT muddy. And there’s air you can feel it even so that the piano can flow under any player. The EQing is mind blowing and I think they correctly adjusted for the tape’s total headroom. The CBS master is also one of the best versions I’ve heard, sounds more original, output kicks ass hence the horns speak better, it’s more dynamic and more “analog” in today’s terms. As with BT, again, CRISPNESS is all about. I almost cried listening to Trane so close. Great video man! Really enjoyed.
Wow. I'm actually surprised by how clean it sounds. I was trying to compare it with my own copies, but they paled in comparison. Every note is so crisp.
@@anadialog I was listening to a CD rip. I'd absolutely love to get into Reel to Reel, but sadly the cost is prohibitive at this point. If I ever win the lottery, one of the first things I buy is a really good machine and a bunch of new tapes. 👍
what what determines the digital quality. maybe it simply has to do with how they do when they publish digitally. So a good comparison would perhaps be to simply copy Over to digital yourself from an analog real to real tape
@@Andersljungberg I really don't have the extra cash to spend on expensive equipment and tapes at this point. I made the decision a long time ago to just buy CDs and digital downloads in the best quality possible, and just leave it at that.
3rd Generation ... hmm. Is the Dupe a 24bit (whatever khz) file and then tweaked when placed onto the prepared tape stock?? I assume that's how they keep it clean for unlimited use.
The elefant in the room.. I think you need to compare the 45 rpm of Bernie Grundman that was cut directly from session tapes in 1995 and was released again last year by Analogue productions from the same metal works.. Great video.. Cheers! Avi
I compared both the examples you supplied & hands down "to my old ears" the Anadialog version was much better. More dynamic & spaciousness in the soundscape while also better frequency ranges. Just my 2 cents.
The guy on TH-cam who seems to only talk about Beatles releases AND The Beatles. told that he had come across a master tape that was made to make pre-recorded cassette tapes. He said there was contour in the sound and a completely different space in the sound. Unfortunately, it was only half the album. If I remember correctly, the master tape was from Australia
In addition, you may not be using the most extreme digital format like DXD or DSD 512 although there is basically nothing with DSD 512 According to what I have heard
I think it's pretty close, but there is a difference. Also, I have an unrelated question. Should I buy the nakamichi zx 9 or the zx 7? In my opinion, the zx 9 is not worth it because of the huge jump in price. It is literally a zx 7 with direct drive and a little bit better amplifier.
I figure the best way to compare is by downloading the tracks you provided (thank you for that as you always do!), but just based on the YT output on my computer speakers, I found the trumpet when it starts a little brighter than on your copy. It's very subtle. As you mention, lots of people judge the quality of this recording reproduction by the bass intro. Again from the YT output, the difference were marginal but it seemed better on your copy. We see here the law of diminishing returns in you need to have a top notch machine, one of these expensive tapes to perceive a little improvement in sound. Plus in that price range, it means you must really LOVE these albums to justify the purchase. This is way out of reach for me, I mean I could get the tape but not the machine not yet. I own a few reel to reel machines, pioneer RT909, RT707, RT-1920L and a Akai X-360 only the Akai could play 15ips (with accessories) but it doesn't take 10" reels so it's kinda pointless. My dream is to get a fully serviced Technics RS-1506 as it's very versatile (does all speeds up to 15ips, 2 tracks capable etc) but it's hard to come by and quite expensive. But I'm enjoying my modest reel collection (BTW, Iron Butterfly - Metamorphosis at 7 1/2ips sound AMAZING!) and my records. I'll stick to my Kind of Blue and Blue Train LPs and save for the Technics...hehe But thank you for showing us all the details and going the extra mile to get us to experience a little bit of this.
yes i confirm the sound on the new one seems crisper. Also you should dig this ia state that nyquist theorem is a pure mathematical study, and there isn't any study related to digital accuracy, or quality, aliasing, nor any serious study between analog vs digital sampled results and even the nyquist theorem was only related to sampling, not digital reproduction. Digital accuracy, quality or whatever you want statement has been done subjectively based on a pure incomplete, mathematical model! Regarding this the last subjective statement was from rme whose stated that their 768khz interface was still not the same as the studer content but closer! Save all analog goodness! Long life to analog!
Don't know what's going on but if we are hearing tracks played from the tapes why are the reels on the video loading back to the original orange reel? 😀
That's normal. It's called tails out. You rewind the tape on another spool and then play it back. At the end the tape is ready to store back in the box
There is an annoying bit of distortion on all copies I have ever head on "so what: when the drum kicks and Miles solos.....But not on this master......WOW and thank you. PS I see you now have my fave RR ever the Studer A810.......it can do it all....Lucky you!
hi at last you told them about the drop out on NEW REEL TO REEL tapes yes this go on alot just don't like to talk about it why a 1/2 inch tapes may be better for a stereo master yes the cost of them tapes you have would be very high as all the time they put in to the checking of the new tapes
For 950 Euros I was expecting a perfectly immaculate reel to reel reproduction and here on this channel we've all heard what that sounds like. Sorry to say but your previous copy of Kind of Blue sounded better from here and has less distortion like the one that appears at 20:02 on the left channel and then repeats all the time, as if it was recorded too hot. Just as I was typing this comment I heard you say that you also found your copy better sounding, so I will download the files and listen to them directly and will change my comment if I discover something different from what I just experienced.
I have the original Kind Of Blue on Columbia reel tape. The Columbia reel tapes are generally not as bright sounding as their lps. I had the lp first, and tonally at least, the highs seemed laid back on the tape, but the more you listened the more you knew the tape sounded more genuine. Bigger less hyped sound. I prefer the original mono pressing lp to the original stereo pressing lp of this. My mono copy is in slightly better condition though.
An authentic 15IPS dub of Kind of Blue would be a grail for me. Unfortunately this public domain junk ain’t it. They’ll have to do a lot more to convince us of the provenance of their sources before I’m sold.
The source of this is a 3:2 mixdown done at Battery Studios in the early 2000s. That became the new 2 track master. These guys got a copy of that. Then they produced their own master from that. What they sell is a copy of that copy so what you get is a 4th generation tape.
@@trackingangle929 what’s your source for this info? There’s nothing to suggest that this Italian “Ermitage” label (whom Hemiola claims to be working with) ever got a tape copy of the 2000’s Mark Wilder mix from Sony - and why would they? This “Ermitage” label was already involved in issuing public domain recordings on CD in Italy, Sony would have no interest in giving them any official asset to work with in issuing their own unofficial CD, and even if they did, in the 2000’s it’s almost unheard of for anyone to be shipped an analog tape copy for the purposes of producing a CD. There’s nothing to even suggest Ermitage were ever involved in issuing ANY version of Kind of Blue. This entire thing is incredibly shady business and if I’m coughing up hundreds of dollars for tapes, which I have done and continue to do, I would much rather it go to someone trustworthy like Chad Kassem who is actually transparent about what sources he is getting and from whom. This week I’m receiving one of the 2 track “backup tapes” of a Lincoln Mayorga/Sheffield Lab direct to disc session. Most people would cry if they knew how little I paid for it, and I have 100% confidence in what I’m receiving. I can’t say the same for this Miles tape.
@@MrRom92DAW"Ermitage" published a number of live classical music recordings (lots of piano recitals, especially) from the RSI archives (Radio della Svizzera Italiana). That was in Italy in the 90s - the RSI material wasn't usually public domain, but they did also publish some public domain things (early Arturo Benedetti Michelangeli recordings, for example). Usually it was Piero Rattalino writing the booklet notes. I don't remember them publishing any jazz recordings or licencing anything at all. The story of the French (?!) label having those tapes in the archives isn't plausible. Still, why is Hemiolia putting the "Ermitage" logo on the cover? That logo was substituted with the "Aura" name at some point (I think the early 2000s) on their CDs... It all looks very strange.
I must correct the information above: Ermitage *did* publish some licenced material on CD. For example some Backhaus recordings from Decca, Haydn's "Schöpfung" with Markevitch conducting (DGG) and others. I have the CDs at home, somehow I had totally forgotten that they are Ermitage too. Sorry for that. I've never seen any jazz though.
Checked out the video twice, and pretty sure there's a mistake in printing the booklet: both reels track list are saying: "reel 1"... When paying 1000 euro almost, one should not accept such easily notifiable mistakes!
On both tapes ( Kind of Blue) is famous 15.734 kHz whine tone probably from old analog NTSC TV 😢. FYI, Hermitage norm. Is 11.5 dB loudness range, Anadialog norm. is 12.7 dB. Everythig above 20 kH is just noise on about -90 dB so record is not worth more than 44.1 kH CD range.
This time I used the "simple" normalizing function on audition instead of the perceived loudness, which IMO seems to harsh, so I think that is the difference you are measuring.
The HDTracks version i have here (by Engineer Mark Wilder) sounds quite good for what is it (sourced from old degraded tapes). If you want to compare it, we can certainly arrange something, contact me. The analog source tapes all suffer from degradation at different level, add to that mixer board noise and distortion, limitations of analog tape recorder (max 13 bits equivalent, wow and flutter, noise, etc). At least, they converted it to digital and stop the downward spiral... The made an error using the "GML Mixer", they should have used pro tools or equivalent and stay in digital domain for mixing. Here are the notes from this release: Since the Kind of Blue mixed masters are multiple generations from the original (due to excessive play/wear), we decided to go directly to the original session reels. Not only does this put us at the original session as a starting point, but it also allows us to deal with the pitch issue as well. The three, 3-track half-inch tapes are in good condition, but age has force them to scallop a little, meaning that the edges curl away from the tape head. This changed the initial focus from mixing from the originals to archiving them before mixing and working from the archive files. This allowed us to gently guide the tape against the playback head to get optimal contact and fidelity. The archiving was done at 192kHz/24 bits, played from a modified Ampex ATR 104, and hard-wired to HDCD Model 2s directly patched to a Lynx 2 sound card. An upside to working from the archive files was the ability to chase the original fader moves done during the mix in 1959. We constantly compared to an early pressing - mono and stereo - and worked bar by bar to duplicate the level moves on the three tracks to match as well as possible. Each channel was converted to analog and passed through a GML mixer, bussed to stereo or mono - depending on the release format - and converted once again to 192Khz/24 bits. At the GML, we inserted processing where needed.
The best digital version according to the public and several journals and experts is that released in native DSD by HDTT. I also presented that shortly after this video. The track is available for download under this video I made: th-cam.com/video/y9ozZNLfO10/w-d-xo.htmlsi=KQ9zJrr8l2ReTkbv
your version sounds more like the classic records and AP UHQR imo that italion version was deeper some how , but also not as clear .. hard to discribe ... im not a tape guy so i stick to by blue notes , classic records and ap uhqr records
Great video! I totally feel you when you say that you still hear the conversion after you digitized them. I can't seem to find a truly transparent converter. I'm leaning towards the new RME Adi-2 pro which supposedly records also DSD256. I really hope it's the end of my search XD
@@anadialog You mean the "pro" version that also records? The only other DSD option for recording seems to be the Merging Technologies stuff, which costs a pretty penny... did you try those?
The big question, and what we should ask ourselves, is: Is it BETTER or just DIFFERENT? Congrats for use your time and money, to expose all of this "old" artwork.
I suspect that eventually when Capital license Peter Jackson's AI software that was used for the get back audio then we might get a remastered copy of Kind Of blue that eventually gets rid of that bloody annoying tape hiss.
it's nice / interesting but it also means to me it's better to use / listen to reliable releases / sources based on the original session tapes belonging to CBS / Columbia (?) without duplication (it always degrades sound) and CDs produced by the company who has the legal rights - how about making a CD copy to a reel and then comparing ?
@@anadialog Anadialog - I often disagree - BUT - You are very very important in this crazy audiophile world, with lots of reasonable attitude - cables - and vinyls do not appeal to me - BUT - I watch and listen to Your videos
I wish the same attention would be given to other artists. It is nice for those that enjoy having different releases of albums like these. I do enjoy them too. But there are so many great artists with fab back catalogs like Shirley Bassey, Peggy Lee, Streisand, Bud Shank, Nancy Wilson that are ignored. Too much of the same.
@7:50 - repeating the same cover photo was boring (great photo though) that could have been filled with tons of useful info or at least some alternate photos not see on the orig LP. I'm nitpicking for $1000 I'm SUPER nitpicking.
Hi Guido, I've just downloaded the test samples you kindly shared. First thing I noted is... the 2 files of Kind of Blue are quiet different as for time duration: 3:30 (Hermitage) vs 5 and some (ANA[DIA]Log)... why this huge difference? Then after a few seconds into the two versions I realized (by ear) there's a difference in audio level too... ANA[DIA]LOG is recorded higher. To be sure I need to compare the levels in a audio editor yet I'm pretty sure they'll be actually different. I'll report my impressions about sonic quality later. Thanks a lot.
Probably true but here there are certifications, yes they are self-issued but it truly seems all legit. Others would have said something otherwise, Ermitage included. Other tapes are always a mystery of course BUT when you hit a true Master tape copy the sound is so good and rich that you just know it, same for a CD or other digital copy...even though sometimes they are borderline examples, which are acceptable, i.e. probably coming from digital
... or they could just release direct master copies of analog master tapes as digital Quad DSD 256 files ... And that without that damn copy-protection of SACD'S !!
I enjoyed your personal master copy of Kind of Blue. The master of Blue Train sounded quite good. Thank you for sharing these master pieces in this format.
Nice sounding, great packaging, a blissful tactile experience…. but let’s face it: this is a lifestyle product and not a viable audio format. A “certificate” issued by the label and not by an independent organism is nothing more than marketing. And how ironic to see how “all analog” has become a badge of honour. I remember the liner notes of Madonna’s Like A Virgin album proudly stating “fanatically recorded digitally from start to finish”. How times have changed… Don’t get me wrong: I still thoroughly enjoy my analog music media and will never consider them inferior. But spending close to EUR 1000 on what is essentially a dead and flawed format is beyond me. To each his own, and I sincerely wish you lots of listening pleasure with the tapes.
![ANA[DIA]LOG](http://yt3.ggpht.com/50CpmGNilS8aoMlarZVhI_GxRDoZdbj4ZgwCMZXg-Rq2PrEvCytlE6RVyLUrNY-rwE_sAlZ1Zw=s48-c-k-c0x00ffffff-no-rj)
Today, it is a rarity and a great pleasure to commune with works of particularly high quality.
I mean both together - musicians and engineers MASTERPIECES.
Thank you very, very much!
Oh my god bro, even through TH-cam, those two recordings, what we got to hear, are fantastic. I’ve listened to these two albums a million times, but the soundstage here blew me away. I cranked it up. Very moving. Thanks so much 👏👏
You're mostly listening to the room? Unless, it is directly being fed into the ADC from line out...
Ciao Guido,
Grazie Millie for the thoughtful, thorough and comprehensive review.
At one time I had seriously gone down the reel-to-reel rabbit hole. I have an Otari MX 5050 BIII and Revox A77MkIII + a fair number of “supposed” master tapes. It was all good fun at the time searching and collecting so-called master tapes, but as you have previously pointed out, a lot of the times it was hit and miss and I have been disappointed more times than I care to recall.
After my retirement, I thought about about resuming my reel to reel tape addiction, until I started to do the “cost-benefit “ analysis in my mind.
I found that re-issues of “master tapes” were a small fortune (as you have described) and my sources for second-hand copies of tapes (typically production masters) had dried up, and/or the prices were astronomical, and/or the provenance of what one was buying was questionable, at best.
So, I sort of switched gears. While I still enjoy watching the reels turn, all of my new acquisitions (especially classic jazz) are now on DSD. I have a Tascam DA-3000. A professional DSD recorder used for mastering and 2 track recording where there won’t be any subsequent editing. (DSD has to converted to PCM to be edited.)
I have a DSD copy of Kind of Blue that I downloaded from High Definition Tape Transfers in Canada and then copied to A CF card. The DSD file supposedly is a direct one-pass copy from a “master tape” (no doubt a production master). High Definition Tape Transfer doesn’t offer the stated provenance of Hemiolia, but then again, the DSD file download only costs about $25.00!
Anyhow, after listening to your comments about the sonic differences between your new Hemiolia tape and your original tape, I popped my CF card (which holds about 9 albums by the way) into my Tascam DA 3000.
The outputs of the Tascam went into a Mark Levinson pre-amp, them to a Conrad Johnson tube power amp, that fed Apogee Duetta speakers and dual subs.
I would have to agree with your assessment of your original master tape vs. the Hemiolia “re-master”. What I heard in my room through my system from the High Definition Tape transfer was electrifying, immediate and transparent. A sense of real sonic realism in all respects.
I suggest that you pick up a used DA3000 (they are no longer in production but you can probably find a used one for less than what you paid for your 2 Hemiolia tapes) and then do shoot-out of all 3!
Now, that would be really interesting.
Thanks for a very interesting comment, all out of my price range, but very interesting none the less.
Jim🏴🙂
.
Yes, I agree it is all insanely expensive and in most cases a true disappointment. Even the tape from Sony was a joke! I love DSD but I just have a stronger connection with analog or old well-mastered CDs...I just need physical media...but your solution is very interesting. Perhaps I may try in the future...
I also listened to the HDTT version and compared it to a flat transfer from an original 7 1/2 IPS tape using a Foobar Abx plug-in at the same volume. The 7 1/2 tape has much more presence and an "air" atmosphere that HDTT does not appear
Hi, Thank you so much for these two marvelous jazz albums discover. I am a novice in Jazz music but I simply prefer old recordings that sound better in my ears than new ones (with far too much amount of bass). Nice video BTW, keep up the good work.
He Guido, great and very detailed video again. I love it when you review music, especially jazz and blues. These two genres you also like if i’m right the same as i. I find jazz and blues for audiophile listening the perfect kind of music. Looking forward to your next video, so Thank you very much for your great videos, and keep it up.👌🏻🎶
Wow, I could hear the difference of the master tapes immediately. Great show. It gives me a good feeling in the stomach after a week full of work and an hour in the gym. I love it.
Even despite the "digital contamination" of streaming online via TH-cam?
@@semilog643 Yes, I definitely heard a difference. Of course, it would be much better to identify differences when the music is heard directly on the system the TH-camr uses.
Remember that all files are available for download in the video description in high-res 96khz/24bit
@@anadialog Great. If I find the time, I'll test them on my own equipment.
The sound of the tapes blows my mind !!! 😵💫
Guido greetings from Uruguay!! great video as always. Shout out to the arquitect's collection man. In my windows PC the differents between the tapes are very very noticeable.
Hi there! Good to know!
Had a great demonstration indeed. Having said vinyl somehow goodbye i am now remastering for amateur artist's recordings in pro DAW environments. And yes, they mostly want the more forgiving sound that my official Studer J37 emulation offers (not meant for mastering - but mixing). I also know how to get reasonable vinyl remasters - it's hard but i never go for 'correction' or any kind of artefact - normalizing can be brickwall limiting. In the end, passive equalization offers more possibilities than active (boosting) equalization. So, from a fully digital guy i send deepest regards to fully analog music ❤ man. In fact, I heard my first Rush records on Reel to Reel Tapedecks at a friend' father equipment
I dug it both but I'd not noticed the cymbals until the second go round. I was amazed how good it came through TH-cam
Me too.
The cymbals! There’s compression and wash compared to your version. The tone and reverb tail on the piano is much fuller and clearer on your American master. Great to hear things on the recording I never heard before-thanks!
As I recall, one of the issues with Kind of Blue was that the session tapes on some of the tracks had been running slightly slow or fast, resulting in them being slightly off pitch. On the CD reissue, this was solved by using the backup session tapes. Do you know which session tapes this version is based on ?
These tapes are sourced from a 3:2 mixdown done by Marc Wilder at Battery Studios in the early 2000s. It would have been easy to fix in the mix
Unfortunately I know nothing of the source, except that the Architect who sold all his collection to me assured me that they were all quality copies (which of course doesn'tmean much), but I have three photocopies so I think it is coming from the original 3 channel session tapes.
I want them! Do you think they will sound better on my Otari MX-55 or MX-5050 BII than your Studer (as the tapes were recorded on an OTARI MRT-15 deck sharing many parts with the MX-55)?
Unless you have that precise Otari calibration the machine is irrelevant. The preamp is relevant and in fact soon I am going to revolutionize my setup. Stay tuned! The 5050 should do the trick excellently!
What can you do to improve the 5050? The MX-55 is a more modern and expensive machine with better electronics (and sounds slightly better than my mint, professionally calibrated 5050 BII).@@anadialog
Ciao Guido dude! This is a very intriguing discovery. I am suspicious now if Ermitage is actually the closest to the original master recording in existence. Reason being is that my original cd and your master copy clearly to me have the same grand daddy which is probably AAD recording for cd, where yours might have been copied AA before D, but the same remix. Great fun though. Thanx man!
If you check the comments Michael Fremer says that the Ermitage was sourced from the session tapes in 2000 from a mix down done at Battery studios, which means the final copy is a 4th Gen.
Guido, hello from Hong Kong. Many thanks for the superb video, simply fantastic listening to the tracks.
Wow. I wish I could listen to it. This kinda reminds me of watching videos on Lamborghinis. I will never drive or own one but it's fun to dream.
Nice effort, and good observation. Thank you
Thanks for the sound comparison!!! The orange copy sounds liquid, but a little bit like a flatscreen. Your CBS Copy has more aura, magic. And its more precise. I listened with Headphone Hifiman HE 560/II with Cardas Cable and Dekoni sheepskin earpads. Source: AppleTV HD at Trenntrafo by Shindo, Furutech LAN Cable after 3 Netswitches powered by Linear Supplys (Ferrum Hypsos, Keces P8, the Router too) plus 3 Network Isolators Pink Faun and iFi. Headphone Amp: McIntosh MHA 150. Hope, Plus Reclocker from Mutec at Cardas Coax-Digi-Cable. that my Listening chain is good enough.
Nice setup there!!
I felt your own master version tape has more sense of a vintage tape. The new Himalia master version is cleaner and lighter and has more resolution without doubt. But If I must choose one to listen my pick is your own master tap. It has more dynamics, guts, and blooms. I owned a 2nd generation of original Blue Train Vinyl and I use it as my reference. Cheers.
Great job! Thanks for sharing!
PS; on Hemiolia site - the Kind of Blue is already OOS!
Thank you...geez, that was fast!
Thanks for your intresting video Guido! I have an A77 hs 7.5/15 ccir . My machine is adjusted to work with lpr 90 reel. Can i handle 320 nwb fluxivity in reproduction? If is not ideal what could happen if i try to reprocuce such level of fluxivity ? I find also in another cases hard to find the value of fluxivity so i'm a little bit doubtful about the ideal fluxivity for my machine.
I am afraid the machine may have some problems. I once had A B77 and sold it for this precise reason. Simply the playbackwill be distorted not flat.
Great review, appreciate the keen insight. Look forward to your reviews. Thanks!
thank you very much for this video. i just order the KOB from Hamiolia, very exciting to listen to it..
Nice! Let us know your thoughts on it!
Can you Talk about the Prism Sound Interface and how near it comes to the original recording please.
Much better than my Blacklion Revolution (obviously). Perhaps I need to do further critical listening and do a dedicated video
Hi Guido, Please correct me if I'm wrong. From your explanation I understand than the Heritage production copy is made for LP pressing, meaning with RIAA equalization ?
I think you got me wrong. Most master tapes are mastered for vinyl. Now I don't know what is the case of the Hermitage copy but clearly, since it is a production master, it was probably optimized for vinyl. This, in any case, does not mean it has a RIAA eq, that was done during the cutting phase. While the Benini Master is surely more flat (even though it can't be that different since Benini did not make his master from the session tapes).
Grazie Guido, strangely I seem to prefer the music on your music downloads than the version on Tidal.
Wow! Need to setup my streaming service I guess ;-)
Ciao Guido hai visto la stampa di Elephant dei White Stripes in formato SACD, vinile UHQR e reel to reel 15’’ ? La prenderai? Ed in quale versione ?
Già presa...secondo te? ;-)
@@anadialog la indovino con una !!! 😂beato te 😉appena fatto restaurare il Revox A77 spero di riuscire ad acquistare anche io qualche bel nastro preregistrato 😉
I've measured out both normalized versions. In the Hermitage copy are noticeable a hard roll-off leading to a low noise floor from 19 kHz upward and 3 dB higher peaks (TPL). Your 'Anadialog' copy has a slight level drop, ending at 20 kHz and a further decreasing level to the cut-off frequency of the AD-Converter.
Interesting
@@anadialogFor me, the Hermitage copy has a flavour of digital in its ancestors.
@@ericberger6966 end not even High Rez but more like Red Book flavour.
Very good review. I have a digital copy of the master pink floyd wish you were here 15 Ips and the difference with vinyl is really noticeable. the sound range is totally open.
Everyone has a digital copy of the Wish You Were Here 15IPS master. It’s called a CD.
@@MrRom92DAW 😂😂😂😂
drive.google.com/file/d/1PoBQnNVv5O491n1d3TwutIqibdlmAo_C/view?usp=drivesdk
Guido, this the best episode that you have done! Thank you so very much!!
Thank YOU!
Thanks very much for a very interesting video! Are you going to buy the Chet Baker as well?
BTW is that a N4520 behind you?
No Chet! It is!
@@anadialog I too have a 4520, great machine. I also have a PR99! I've bought a couple of ebay "master copies" but I have still to find a low generation one.
Excellent video, so thank you. Have you ever played a white label promo LP of "Kind of Blue" ? I am fortunate to have a copy, and it sounds stunningly good to me. I agree with your appraisal of the tapes and sound qualities you discerned - your tape definitely had more spatial presence and resolution, to my ears.
"digital contamination" good one!
Thank you for this video. Nice Speedmaster by the way.
Thanks!
Yea there’s a difference even after interface and YT.
Regarding KoB, the Hemiolia master looks weak on the VUmeter BUT man it’s all about the clarity, you can hear Miles’s timing vs the others during the intro, man Trane’s tenor is CRISP the attack is heavenly, the ride cymbal is FAT and the bass is louder than any other version but defined and NOT muddy. And there’s air you can feel it even so that the piano can flow under any player. The EQing is mind blowing and I think they correctly adjusted for the tape’s total headroom.
The CBS master is also one of the best versions I’ve heard, sounds more original, output kicks ass hence the horns speak better, it’s more dynamic and more “analog” in today’s terms.
As with BT, again, CRISPNESS is all about. I almost cried listening to Trane so close.
Great video man! Really enjoyed.
Wow. I'm actually surprised by how clean it sounds. I was trying to compare it with my own copies, but they paled in comparison. Every note is so crisp.
And you are listening to a digital rip...try to imagine the live analog tape...
@@anadialog I was listening to a CD rip. I'd absolutely love to get into Reel to Reel, but sadly the cost is prohibitive at this point. If I ever win the lottery, one of the first things I buy is a really good machine and a bunch of new tapes. 👍
what what determines the digital quality. maybe it simply has to do with how they do when they publish digitally. So a good comparison would perhaps be to simply copy Over to digital yourself from an analog real to real tape
Sony had DAT and CD Recorder with SBM. What do you say about that
@@Andersljungberg I really don't have the extra cash to spend on expensive equipment and tapes at this point. I made the decision a long time ago to just buy CDs and digital downloads in the best quality possible, and just leave it at that.
How does it sound on a Tandberg TD20A SE? I think Studer is overrated. I used to be factory Service for Revox and they use the same heads.
3rd Generation ... hmm. Is the Dupe a 24bit (whatever khz) file and then tweaked when placed onto the prepared tape stock?? I assume that's how they keep it clean for unlimited use.
Another very well done comparison. Since I am into watches too,can I ask you what are you wearing in this video?
A moonwatch!
Fascinating.
on your personal collection version sound is more direct, little bit louder and better soundstage.
The elefant in the room..
I think you need to compare the 45 rpm of Bernie Grundman that was cut directly from session tapes in 1995 and was released again last year by Analogue productions from the same metal works..
Great video.. Cheers!
Avi
I compared both the examples you supplied & hands down "to my old ears" the Anadialog version was much better. More dynamic & spaciousness in the soundscape while also better frequency ranges. Just my 2 cents.
The guy on TH-cam who seems to only talk about Beatles releases AND The Beatles. told that he had come across a master tape that was made to make pre-recorded cassette tapes. He said there was contour in the sound and a completely different space in the sound. Unfortunately, it was only half the album. If I remember correctly, the master tape was from Australia
Hi my friend i wanted to know which Reel to Reel you have behind you.
The one behind me below (out of the picture) is a Telefunken M15, the one up behind me is a Philips N4520
I have these as well, along with some of their proprietary offerings (A Portrait Of Jimmy Hendrix). World class product. I couldnt be happier.
maybe your copy was recorded at a studio which uses a higher fluxivity like 520 nWb/m. That will immediately make it louder.
Could be...
In addition, you may not be using the most extreme digital format like DXD or DSD 512 although there is basically nothing with DSD 512 According to what I have heard
Interesting insights - thank you! 👂🏼👍🏼
I think it's pretty close, but there is a difference. Also, I have an unrelated question. Should I buy the nakamichi zx 9 or the zx 7? In my opinion, the zx 9 is not worth it because of the huge jump in price. It is literally a zx 7 with direct drive and a little bit better amplifier.
Well, if you are going in that direction, the ZX-9 is one of a kind. Might as well wait and go for the big baby IMHO!
Thanks for this wonderful presentation from an old tape addict
I figure the best way to compare is by downloading the tracks you provided (thank you for that as you always do!), but just based on the YT output on my computer speakers, I found the trumpet when it starts a little brighter than on your copy.
It's very subtle.
As you mention, lots of people judge the quality of this recording reproduction by the bass intro.
Again from the YT output, the difference were marginal but it seemed better on your copy.
We see here the law of diminishing returns in you need to have a top notch machine, one of these expensive tapes to perceive a little improvement in sound. Plus in that price range, it means you must really LOVE these albums to justify the purchase.
This is way out of reach for me, I mean I could get the tape but not the machine not yet.
I own a few reel to reel machines, pioneer RT909, RT707, RT-1920L and a Akai X-360 only the Akai could play 15ips (with accessories) but it doesn't take 10" reels so it's kinda pointless. My dream is to get a fully serviced Technics RS-1506 as it's very versatile (does all speeds up to 15ips, 2 tracks capable etc) but it's hard to come by and quite expensive.
But I'm enjoying my modest reel collection (BTW, Iron Butterfly - Metamorphosis at 7 1/2ips sound AMAZING!) and my records. I'll stick to my Kind of Blue and Blue Train LPs and save for the Technics...hehe
But thank you for showing us all the details and going the extra mile to get us to experience a little bit of this.
Listening to the RAW files, yes the difference is very clear... your tape is so much better.
Thank you.
You seem you have great gear....and a plan! Congrats!
yes i confirm the sound on the new one seems crisper. Also you should dig this ia state that nyquist theorem is a pure mathematical study, and there isn't any study related to digital accuracy, or quality, aliasing, nor any serious study between analog vs digital sampled results and even the nyquist theorem was only related to sampling, not digital reproduction. Digital accuracy, quality or whatever you want statement has been done subjectively based on a pure incomplete, mathematical model! Regarding this the last subjective statement was from rme whose stated that their 768khz interface was still not the same as the studer content but closer! Save all analog goodness! Long life to analog!
Is the second tape that is sticking out touching the other reel or just reel e close! How did you get It on the tdk reel; regular rewinding?
Yes, my KOB copy is on pancakes.
Always top notch content with your videos. Not going to try to compare through TH-cam. It all sounds great. 👍😎
Thanks! Remember you can download the high-res 94khz/24bit versions of the files in the video description
Unfortunately I can’t stream to my system, analog all the way. 🤓
Hi Guido.
"Digital contamination". There's a certain ring to it, isn't there?
The very best analog wishes from Denmark.
Stay cool Mate.
A certain ring !
Indeed!
Thank you! you are the only one on youtube to make those videos; ale the others are just words words words and no music
Don't know what's going on but if we are hearing tracks played from the tapes why are the reels on the video loading back to the original orange reel? 😀
That's normal. It's called tails out. You rewind the tape on another spool and then play it back. At the end the tape is ready to store back in the box
There is an annoying bit of distortion on all copies I have ever head on "so what: when the drum kicks and Miles solos.....But not on this master......WOW and thank you. PS I see you now have my fave RR ever the Studer A810.......it can do it all....Lucky you!
hi at last you told them about the drop out on NEW REEL TO REEL tapes yes this go on alot just don't like to talk about
it why a 1/2 inch tapes may be better for a stereo master
yes the cost of them tapes you have would be very high as all the time they put in to the checking of the new tapes
Always top notch info. Thank you
Coltrane: recorded three days after my birthday :D
Extremely good video and sounds (downloaded). Congratulation.
Please tell companies to make tape decks again and good ones if possible
Guido, my brother in law in Mexico is tryong to order a copy and he says its telling him that only people in Italy can order it
Yes, I said that in the video. It’s only for the EU market. Try writing them directly…
@anadialog ok sorry I thought it was only restricted in U.S.
Thanks
For 950 Euros I was expecting a perfectly immaculate reel to reel reproduction and here on this channel we've all heard what that sounds like. Sorry to say but your previous copy of Kind of Blue sounded better from here and has less distortion like the one that appears at 20:02 on the left channel and then repeats all the time, as if it was recorded too hot.
Just as I was typing this comment I heard you say that you also found your copy better sounding, so I will download the files and listen to them directly and will change my comment if I discover something different from what I just experienced.
There are 598 releases of Kind of Blue listed on Discogs.
Insane
So we don't have to worry about getting the $950 copy!
I have the original Kind Of Blue on Columbia reel tape. The Columbia reel tapes are generally not as bright sounding as their lps. I had the lp first, and tonally at least, the highs seemed laid back on the tape, but the more you listened the more you knew the tape sounded more genuine. Bigger less hyped sound. I prefer the original mono pressing lp to the original stereo pressing lp of this. My mono copy is in slightly better condition though.
Very nice, but a tad out of my price range. Very interesting though. ( You can never have enough copies of KOB ).
It says "video unavailable" that mono version of yours.☹
Which one? Please reply in a new comment...thanks!
@@anadialog It works now.
@@anadialog Now that link does not even appear any more.
@7:47 "Tracklist - Reel 1" appears two times?
Yes, you are right I didn't notice that
An authentic 15IPS dub of Kind of Blue would be a grail for me. Unfortunately this public domain junk ain’t it. They’ll have to do a lot more to convince us of the provenance of their sources before I’m sold.
The source of this is a 3:2 mixdown done at Battery Studios in the early 2000s. That became the new 2 track master. These guys got a copy of that. Then they produced their own master from that. What they sell is a copy of that copy so what you get is a 4th generation tape.
@@trackingangle929 what’s your source for this info? There’s nothing to suggest that this Italian “Ermitage” label (whom Hemiola claims to be working with) ever got a tape copy of the 2000’s Mark Wilder mix from Sony - and why would they?
This “Ermitage” label was already involved in issuing public domain recordings on CD in Italy, Sony would have no interest in giving them any official asset to work with in issuing their own unofficial CD, and even if they did, in the 2000’s it’s almost unheard of for anyone to be shipped an analog tape copy for the purposes of producing a CD.
There’s nothing to even suggest Ermitage were ever involved in issuing ANY version of Kind of Blue.
This entire thing is incredibly shady business and if I’m coughing up hundreds of dollars for tapes, which I have done and continue to do, I would much rather it go to someone trustworthy like Chad Kassem who is actually transparent about what sources he is getting and from whom.
This week I’m receiving one of the 2 track “backup tapes” of a Lincoln Mayorga/Sheffield Lab direct to disc session. Most people would cry if they knew how little I paid for it, and I have 100% confidence in what I’m receiving. I can’t say the same for this Miles tape.
@@MrRom92DAW"Ermitage" published a number of live classical music recordings (lots of piano recitals, especially) from the RSI archives (Radio della Svizzera Italiana). That was in Italy in the 90s - the RSI material wasn't usually public domain, but they did also publish some public domain things (early Arturo Benedetti Michelangeli recordings, for example). Usually it was Piero Rattalino writing the booklet notes. I don't remember them publishing any jazz recordings or licencing anything at all. The story of the French (?!) label having those tapes in the archives isn't plausible. Still, why is Hemiolia putting the "Ermitage" logo on the cover? That logo was substituted with the "Aura" name at some point (I think the early 2000s) on their CDs... It all looks very strange.
@@mscilithey are simply lying to sell as many tapes until they're stopped. There are enough idiots with money to fund their little scam.
I must correct the information above: Ermitage *did* publish some licenced material on CD. For example some Backhaus recordings from Decca, Haydn's "Schöpfung" with Markevitch conducting (DGG) and others. I have the CDs at home, somehow I had totally forgotten that they are Ermitage too. Sorry for that. I've never seen any jazz though.
Checked out the video twice, and pretty sure there's a mistake in printing the booklet: both reels track list are saying: "reel 1"... When paying 1000 euro almost, one should not accept such easily notifiable mistakes!
Indeed! I was quite surprised as well and noticed only after other comments!
Fantastic job bro 🙏
On both tapes ( Kind of Blue) is famous 15.734 kHz whine tone probably from old analog NTSC TV 😢. FYI, Hermitage norm. Is 11.5 dB loudness range, Anadialog norm. is 12.7 dB. Everythig above 20 kH is just noise on about -90 dB so record is not worth more than 44.1 kH CD range.
This time I used the "simple" normalizing function on audition instead of the perceived loudness, which IMO seems to harsh, so I think that is the difference you are measuring.
I thoroughly enjoy your videos on TH-cam
Thank you so much!
Great Content as usual
Thank you so much! I see you are binge watching! ;-)
The HDTracks version i have here (by Engineer Mark Wilder) sounds quite good for what is it (sourced from old degraded tapes). If you want to compare it, we can certainly arrange something, contact me.
The analog source tapes all suffer from degradation at different level, add to that mixer board noise and distortion, limitations of analog tape recorder (max 13 bits equivalent, wow and flutter, noise, etc). At least, they converted it to digital and stop the downward spiral... The made an error using the "GML Mixer", they should have used pro tools or equivalent and stay in digital domain for mixing. Here are the notes from this release:
Since the Kind of Blue mixed masters are multiple generations from the original (due to excessive play/wear), we decided to go directly to the original session reels. Not only does this put us at the original session as a starting point, but it also allows us to deal with the pitch issue as well.
The three, 3-track half-inch tapes are in good condition, but age has force them to scallop a little, meaning that the edges curl away from the tape head. This changed the initial focus from mixing from the originals to archiving them before mixing and working from the archive files. This allowed us to gently guide the tape against the playback head to get optimal contact and fidelity.
The archiving was done at 192kHz/24 bits, played from a modified Ampex ATR 104, and hard-wired to HDCD Model 2s directly patched to a Lynx 2 sound card.
An upside to working from the archive files was the ability to chase the original fader moves done during the mix in 1959. We constantly compared to an early pressing - mono and stereo - and worked bar by bar to duplicate the level moves on the three tracks to match as well as possible.
Each channel was converted to analog and passed through a GML mixer, bussed to stereo or mono - depending on the release format - and converted once again to 192Khz/24 bits. At the GML, we inserted processing where needed.
The best digital version according to the public and several journals and experts is that released in native DSD by HDTT. I also presented that shortly after this video. The track is available for download under this video I made: th-cam.com/video/y9ozZNLfO10/w-d-xo.htmlsi=KQ9zJrr8l2ReTkbv
hi i am sorry the files doesn't work... maybe you can check what happen?
Everybody is listening to them. Try again downloading them. If they don't work please let me know in another comment
your version sounds more like the classic records and AP UHQR imo that italion version was deeper some how , but also not as clear .. hard to discribe ... im not a tape guy so i stick to by blue notes , classic records and ap uhqr records
Great video! I totally feel you when you say that you still hear the conversion after you digitized them. I can't seem to find a truly transparent converter. I'm leaning towards the new RME Adi-2 pro which supposedly records also DSD256. I really hope it's the end of my search XD
I had the RME and just didn't convince me, quite bad in PCM and barely decent in DSD
@@anadialog You mean the "pro" version that also records?
The only other DSD option for recording seems to be the Merging Technologies stuff, which costs a pretty penny... did you try those?
As you say the recording isn't great, I would send back that Prism ADC. Thanks for trying🙏
The big question, and what we should ask ourselves, is:
Is it BETTER or just DIFFERENT?
Congrats for use your time and money, to expose all of this "old" artwork.
Good point
Amazing video
There are some engineer dupes of KOB going around that are out of this world.. definitely not worth spending $1000 for a tape
The orange reels are cool, but come on Blue Train, Kind of Blue and they're the Blues the reels should have been BLUE
Kind of Blue test (Hemiolia) is the superior source. I listened with headphones on two occasions. The Anadialog is distorted.
I suspect that eventually when Capital license Peter Jackson's AI software that was used for the get back audio then we might get a remastered copy of Kind Of blue that eventually gets rid of that bloody annoying tape hiss.
2:22 'Master'mind 😊
dictionary.cambridge.org/dictionary/english/mastermind
950 €?
Out of head!
Operation Nostalgia.
DSD256 audio files, that's all folks!
Check out my new video related to the DSD version! th-cam.com/video/y9ozZNLfO10/w-d-xo.html
it's nice / interesting but it also means to me it's better to use / listen to reliable releases / sources based on the original session tapes belonging to CBS / Columbia (?) without duplication (it always degrades sound) and CDs produced by the company who has the legal rights - how about making a CD copy to a reel and then comparing ?
I am cooking something up. Stay tuned!
@@anadialog Anadialog - I often disagree - BUT - You are very very important in this crazy audiophile world, with lots of reasonable attitude - cables - and vinyls do not appeal to me - BUT - I watch and listen to Your videos
I wish the same attention would be given to other artists. It is nice for those that enjoy having different releases of albums like these. I do enjoy them too. But there are so many great artists with fab back catalogs like Shirley Bassey, Peggy Lee, Streisand, Bud Shank, Nancy Wilson that are ignored. Too much of the same.
I am sure theybwill be released a little bit of everything
@7:50 - repeating the same cover photo was boring (great photo though) that could have been filled with tons of useful info or at least some alternate photos not see on the orig LP. I'm nitpicking for $1000 I'm SUPER nitpicking.
Hi Guido, I've just downloaded the test samples you kindly shared. First thing I noted is... the 2 files of Kind of Blue are quiet different as for time duration: 3:30 (Hermitage) vs 5 and some (ANA[DIA]Log)... why this huge difference?
Then after a few seconds into the two versions I realized (by ear) there's a difference in audio level too... ANA[DIA]LOG is recorded higher. To be sure I need to compare the levels in a audio editor yet I'm pretty sure they'll be actually different. I'll report my impressions about sonic quality later. Thanks a lot.
Make sure you check the versions. I just recorded one longer than the other. Only the NORM versions have the perceived loudness normalized.
Can I order these from Canada Canada
Try, I don't know!
If they were transferred from DSD, it would be difficult for anyone to know.
it depends on how they get tranafered and what source was used DSD does not make anything better from the analog source
Probably true but here there are certifications, yes they are self-issued but it truly seems all legit. Others would have said something otherwise, Ermitage included. Other tapes are always a mystery of course BUT when you hit a true Master tape copy the sound is so good and rich that you just know it, same for a CD or other digital copy...even though sometimes they are borderline examples, which are acceptable, i.e. probably coming from digital
No differences with bluetooth in-ear headphones.
@@anadialogcertified digital.
🤡
... or they could just release direct master copies of analog master tapes as digital Quad DSD 256 files ...
And that without that damn copy-protection of SACD'S !!
I enjoyed your personal master copy of Kind of Blue. The master of Blue Train sounded quite good. Thank you for sharing these master pieces in this format.
Thank YOU!
Nice sounding, great packaging, a blissful tactile experience…. but let’s face it: this is a lifestyle product and not a viable audio format. A “certificate” issued by the label and not by an independent organism is nothing more than marketing. And how ironic to see how “all analog” has become a badge of honour. I remember the liner notes of Madonna’s Like A Virgin album proudly stating “fanatically recorded digitally from start to finish”. How times have changed… Don’t get me wrong: I still thoroughly enjoy my analog music media and will never consider them inferior. But spending close to EUR 1000 on what is essentially a dead and flawed format is beyond me. To each his own, and I sincerely wish you lots of listening pleasure with the tapes.