Röhren und Hören

Tubesox hat geschrieben:Moin,

für Interessierte gibt es hier die passende Literatur zum Thema:

1. Mercury Living Presence - von Wolfgang Beinhauer
2. Full Frequency Stereophonic Sound , London und Decca - by Robert Moon and Michael Gray
3. The RCA Bible - by Jonathan Valin
4. Living Stereo - von D. Brakemeyer (zu teuer)

Viel Spass beim Stöbern [img:42:29]http://www.cheesebuerger.de/images/smil ... t/d034.gif[/img]

Tubesox hat geschrieben: Wenn das alles stimmt ...

*As stated by the late Jack Pfeiffer, the Producer of many of the original RCA "Shaded Dogs", in his last interview (with Michael Fremer of The Tracking Angle):

Fremer: "So the people that think the originals are the holy grail, those are the magic, they're mistaken?"
Pfeiffer: "They are totally mistaken."

Pfeiffer: "They (the "original" RCA Shaded Dogs) had to be tailored to the deficiencies of the cutting and the playback system of the day. We used to listen to lacquers... on our own systems, you know, in the office and also at home, and we'd make judgments about... whether the compression was too great or whatever, because when the mix down was made to make the production master, they tried to limit the bass, they tried to limit the dynamics, and to some extent, they tried to limit the high frequency content at the end because they knew that that was going to be on the inside (center) of the record."

**As stated in "The Audiophiles Guide to London Bluebacks" written by Robert Moon & Michael Gray (on page 20):

"...there is a harsh brightness to the Decca-London early stereo records because the disc cutters were weak in reproducing frequencies above 10khz. The pressings made after 1968--to my knowledge all FFRR--were made with the Neumann SX-68 helium-cooled disc cutter which could reveal the sweet high frequenices on the original tape. It's for that reason that the later FFRR pressings are often superior to the early FFSS pressings."

2285b hat geschrieben: ... aber besonders diese zwei Fakten fand ich sehr interessant:

*As stated by the late Jack Pfeiffer, the Producer of many of the original RCA "Shaded Dogs", in his last interview (with Michael Fremer of The Tracking Angle):

Fremer: "So the people that think the originals are the holy grail, those are the magic, they're mistaken?"
Pfeiffer: "They are totally mistaken."

Pfeiffer: "They (the "original" RCA Shaded Dogs) had to be tailored to the deficiencies of the cutting and the playback system of the day. We used to listen to lacquers... on our own systems, you know, in the office and also at home, and we'd make judgments about... whether the compression was too great or whatever, because when the mix down was made to make the production master, they tried to limit the bass, they tried to limit the dynamics, and to some extent, they tried to limit the high frequency content at the end because they knew that that was going to be on the inside (center) of the record."

**As stated in "The Audiophiles Guide to London Bluebacks" written by Robert Moon & Michael Gray (on page 20):

"...there is a harsh brightness to the Decca-London early stereo records because the disc cutters were weak in reproducing frequencies above 10khz. The pressings made after 1968--to my knowledge all FFRR--were made with the Neumann SX-68 helium-cooled disc cutter which could reveal the sweet high frequenices on the original tape. It's for that reason that the later FFRR pressings are often superior to the early FFSS pressings."

Überschrift: London & Decca = gleicher Pressmaster = gleiche klangl. Performance:

Recently, I received an e-mail from a reader in Europe. Here it is, with only the grammar slightly changed:

"I have an original Decca factory sample LP of SXL 6036, dated October 9th 1962, which includes the actual approval sheet from Decca, stating which labels are to be printed from this master; those being Londons and Deccas, both in stereo and mono. This is the ultimate proof on your thoughts that Londons and Deccas are the same.

I have closed many disputes over this issue, even to very hardcore Decca collectors, some of which also have offered me substantial amounts of money to buy this proof (some of them were dealers of classical records, so I think they had destruction in mind)."

Personal Notes- I have seen this document, but I'm not sure what I saw was totally definitive. I'm not able to post this (or any) document at this time, due to my lack of computer skills. However, the reader has given me permission to forward it to others, which I will do upon request.

Überschrift: nicht die britischen Deccas sind die besten, sondern die Holländischen

Most Dutch pressings will rival the finest Late British and, in a few rare instances, are "The Best". The Dutch pressings, which were actually mastered in England, almost always equal, or prove superior to, the Late British in immediacy, purity and transparency. Their sonic advantages over the even earlier pressings are that much more pronounced ...

... Dutch pressings replaced the Late British during 1979

The best pressings I've heard for DGGs are Canadian, believe it or not! Why? I was told that they were mastered with high-quality tube amplifiers. They're also cheap. Unfortunately, not too many titles were pressed, but don't pass them by if you see them.

Early German pressings are sometimes slightly better (they used thicker vinyl) than the reissues, but the differences are even smaller than with the Columbias. In fact, too small for anyone but the fanatics to care about, mainly because the recordings themselves are almost always mediocre.

2285b hat geschrieben:

"As stated in "The Audiophiles Guide to London Bluebacks" written by Robert Moon & Michael Gray (on page 20): ...there is a harsh brightness to the Decca-London early stereo records because the disc cutters were weak in reproducing frequencies above 10khz. The pressings made after 1968--to my knowledge all FFRR--were made with the Neumann SX-68 helium-cooled disc cutter which could reveal the sweet high frequenices on the original tape. It's for that reason that the later FFRR pressings are often superior to the early FFSS pressings."

Grüße
Axel

be.audiophil hat geschrieben: Ich habe hier z.B. eine französische SXL des Concerto de Aranujez ...

2285b hat geschrieben:

be.audiophil hat geschrieben: Ich habe hier z.B. eine französische SXL des Concerto de Aranujez ...

welche? Hatte eben noch eine franz. SXL 2091/ A. Argenta mit dem Concierto de Aranjuez und de Falla/ Nuits dans les jardins...aufliegen

2285b hat geschrieben:
ja sehr schön...dieses Cover?

[IMG:640:517]http://img123.imageshack.us/img123/3138 ... uguny6.jpg[/img]

2285b hat geschrieben:[IMG:640:517]http://img123.imageshack.us/img123/3138 ... uguny6.jpg[/img]