A very kind offer. May take you up on that in the future

Thanks a lot. I really appreciate that.

There was no DSD 256 of Kirsten. I don’t own that system, it was a client’s system I evaluated. But yes, used the Tascam 3000 at 24/176.4 for the hi res on Qobuz. The copy was made from the master tape because I consider that an integral part of the sound

Clayton Jr's Bells on Sand LP mastered by KG for Blue Note is wonderfully creative. I too am looking forward to their next project.

@@cohearent Thanks so much for the speedy reply and information, Kevin. Great insight. 👍 Understood regarding the master tape being an integral part of the sound. And, thanks so much for choosing this career path and the fantastic choices you've made in regards to your equipment, signal chain, and philosophy/techniques in order to capture and/or preserve and improve these original recorded performances. As you know, there are just a handful with your expertise who are also consistently doing this type of work. Wish we could clone you and your studios! 😛 So much great music and history has been lost due to lack of care in cataloging, storing, and archiving the multitrack and master tapes. Sadly, I've seen this on the motion picture and TV side of the industry as well. I worked for a stint in the mid-90's in the motion picture film Color Timer/Video Colorist department at FotoKem/FotoTronics in Burbank near the studios where a significant percentage of our work was digitally archiving all of the old classic (and more modern) film movies and TV shows. It was mind-boggling how many titles came through our doors! But we were continually backlogged with work and could not possibly get to all of them in a reasonable amount of time before they further degraded. And, unfortunately some were simply too far gone to recover. On the music side, I've heard too many heartbreaking stories of the multitracks or master tapes from hundreds of sessions or entire independent studio collections simply ending up in the dumpster after a studio had closed due to financial stresses, or after the owner/manager has died and no one in the family has a clue about what to do with any of it, or even caring or wanting to preserve or deal with it. So Keep On Keepin' On!

@@AudioTnT THANK YOU for the heads-up regarding the "Bells On Sand" LP. 👍👍

I’m not the first one to put the idea cross. But it’s not playing records on vintage equipment. It’s playing it on vintage styled equipment, including single ended triode amplifiers and horn loaded speakers which were used when Rudy was making all these records. Sorry if that was unclear but the idea is basically the same. You can find more detail on this idea and Alex Halberstadt’s recent stereophiles column.

Rich!

Jazzbums or Stereophile or another

I noticed that as well. At least it appeared to be a Bible. And I am in agreement.

Yes indeed! Hey Ken, have you listened to a tonearm from Japan named "Glanz?" The arms are pretty exotic and are made out of stainless steel?

I have to check to see which version I have. And I’ll check what you’re hearing.

@@kenmicallefjazzvinylaudiop6455 thank you

I haven’t changed my opinion of modern re-issues and I told Kevin gray as much. I don’t know what you’re talking about.

@@kenmicallefjazzvinylaudiop6455 In all fairness Ken I think your opinion has "relaxed" over the years lol. You may disagree but I think you have taken on an approach that suggests your views are more a matter of opinion than objective fact. I for one appreciate that change 😊

That’s only part of it. Earlier pressings, are. more dynamic, yes, because he boosted the mid range, they’re also more spatial which may have something to do with the reverb. But how can anyone deny that a tape recorded one day, and most likely cut into a lacqueur the next day will sound more present and immediate and live and natural than a tape that is over 60 years old. Isn’t it basic physics?

@@kenmicallefjazzvinylaudiop6455 Yes I agree with all the above points, but the plate reverb is pretty important. It creates the illusion of more headroom.

Plate reverb is on the master tape with most of these jazz recordings we love, which means it is on every reissue ever made. IME reverb would have been added during the mastering process on a rare occasion, George Wallington at the Bohemia, Little Richard on Specialty for example--though I actually prefer those *without* the reverb...I believe RoyDuNann at Contemporary may have done it too, but Rudy almost never added reverb during mastering.

@@kenmicallefjazzvinylaudiop6455 I agree that your hypothesis is reasonable, but of course one has to test their hypothesis, and IME these tapes quite often sound incredible still today. On occasion (Elmo Hope Trio, John Patton's The Way I Feel for example), there is tape damage in spots on reissues. But what you are speaking to, that the overall quality of the playback with these tapes is somehow compromised today, I personally can't say I hear it. Yes I'd like a vintage pressing of Maiden Voyage because all modern reissues are made from a copy tape for that title, but I'll be damned if that copy tape doesn't sound outstanding.✌