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About pdvm

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  1. Seriously, if you're into passionate and unabashedly romantic piano concertos: listen to this Atterberg concerto.
  2. Oh boy. What a discovery this piano concerto is.
  3. Fantastic version of the Bach violin concertos. The opening allegro of the reconstructed BWV 1052 is almost scary.
  4. I know. I hear new, great sounding recordings all the time. Most of them are recordings of mediocre performances unfortunately. So when somebody comes along and does things genuinely different or with the utmost attention to detail (like Currentzis), it's sad to have to write him off because of an unlistenable recording. I mean, I much rather listen to Barbirolli's Mahler 6 where you can hear the microphone distortion at the loudest climaxes, then hear this mess, where every time it gets exciting the engineer yanks the volume down while you can hear there's no distortion and you know there's ample dynamic range to capture the full impact of the passage.
  5. Which is weird, because I found the following on the facebook page of AudioNote, who work with Damien Quintard, the recording engineer for Currentzis: " [...] Then there's the equipment...*groan* Sadly, the word 'pro' kind of makes one think of comparing a family saloon to a luxury / performance car of some sort, but, alas, with recording equipment at least, it's more like comparing a family saloon to a delivery van. And, bear in mind, as audiophiles, most of us don't have the audio equivalent of a Ford Focus in our listening room, more like BMW and up. The truth is, your favourite musicians will most likely have had their art passed through 50 cheap 'jellybean' op amps (NE5532 usually) and been converted from analogue to digital, and back, at least four times, before it reaches your silver-wired SE triodes. [...] I personally think it's a miracle there's anything left to listen to after the beating it's been subjected to, and, by improving that signal chain, we can experience better music at home. Luckily, we aren't without allies in the music industry, and Mssr Quintard is one of those... At some time, we're hoping to spread our tentacles into the 'pro' audio business, with the prime aim of trying to improve the quality of recorded music, firstly for our own label, and secondly by way of introducing recording and production electronics. Damien is an award (Emmy) winning producer who records and engineers for our friend Maestro Currentzis. [...] We examined limitations in current recording interfaces (Damien uses one of the best - DAD) and mastering equipment, in particular compressor / limiters, as well as sample rate conversion, dithering, the entire process in fact, as well as discussing analogue - and mono analogue - recordings of Edna. What I think we really learned was, and it's going to take time to implement, is that we need to work on every aspect of the chain, and develop a kind of process or system, together with the equipment. Only that way can we achieve our shared aim. I guess the first product is going to be a microphone preamp. You can see the beautiful setting of Damien's studio, on Boulevard des Batignolles in Paris, together with his DAW (Digital Audio Workstation) and analogue equipment. He uses an Audio Note Meishu and E speakers for monitoring, as you can see in the photographs. Damien found this combination to be more revealing than anything else he's used. Damien uses several different types of microphones for recording, but his favourite is the RCA ribbon, pictured. I have the somewhat daunting task of creating a quiet preamp to work with it. He also uses AEA, Coles and others. He's particularly fond of his early Chandler Curve bender (EQ) and Zener Limiter". Thanks to Andy for sharing his pictures and comments on the trip, and to Damien QD for generally being an incredible person we are honoured to work with." Maybe it's Sony that puts the final master through the mangler? I just can't believe it's 2018 and classical recordings (still? again?) get maimed in this way....
  6. THANK YOU. All reviews I've read mention the 'stellar' recording quality / 'demonstration class' etcetera. Does nobody hears the heavy compression? I bought the high-res download of his Tchaikovsky 6 and put it through Audacity. Look at it. This is the 3d movement. I suspect the Mahler will look the same if you analyze the files. The final bang of the finale is so flatly compressed that you can actually hear a crescendo after the bang (because of the relative dynamics), instead of a decrescendo. It's completely bizarre. The thing is, in so many top performances of both the Mahler and Tchaikovsky, but mainly Mahler, some passages have emotional impact because just at the point where you think it can't get more intense, it does. You need realistic relative dynamics in a recording for those moments to register. In these recordings, all bets are off as to what the relative dynamics were in the original performance, because on top of the endless highlighting the dynamics in every climax are gone. Because I liked the Tchaikovsky performance so much I actually went through the trouble to restore the dynamics in the climaxes manually. Fairly easy to do as only two hysterical moments in the first movement needed a higher volume plateau, the main tutti's in the latter half of the third movement and the two main drawn-out crescendo's in the finale. But the Mahler is un-salvageable.
  7. Yes! Same here. Actually, it's the reason for me looking around on CA today, to see if it's just me or it's a general Qobuz problem... so thanks
  8. New Beethoven cycle! Blomstedt & Gewandhausorchester
  9. Hi Mario, Would it be possible to send me the codes for the Cabrera plays Debussy album and the Enrique Bernaldo de Quiros Debussy preludes album? Many thanks!
  10. When you call the HD600/650 "garbage, veiled and boring mid-fi", you have every right to do so. But IMHO, that means either you have never heard live music in a concert hall, or you can't hear high frequencies any more. Or both. 4000 dollar flagship or not. Sent from my iPhone using Computer Audiophile
  11. Interesting! How do they sound compared to the regular versions? Sent from my iPhone using Computer Audiophile
  12. No Barenboim fan here either. It doesn't help that he played the two concertos back to back on one evening... What was he thinking? And back on topic: I'd like to see a nice hi-res recording of the Glière horn concerto.
  13. I like his Reiner recording too, but for me it is too much in the same vein as, and falls just short of, the Richter/Leinsdorf Brahms 2nd, which is my favorite. I do like the later Gilels/Jochum/Berliner recording though, for it is very different from his earlier version, with a more stately, noble feel to it. And it comes with a Brahms 1st that is amazing.
  14. A moveable feast +1 I heard them in concert performing exactly this program. It was the first time I heard the Vaughan Williams quintet. Passionate, lyrical music. Very much recommended Sent from my iPhone using Computer Audiophile
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