RIAA Equalization Standard...

[Telemann]

Originally Posted by ThorstenL

Hi,



Shame, Melodya had a decent archive of unique performances on pretty high grade masters, perfect fodder for transfers to 24/96 to be available as downloads...

Ciao T

Melodiya have opened up again, with access to the entire archive, and are releasing on CDs. And I agree, would be perfect fodder for transfers.
Stupendous catalogue: http://www.melody.su/eng/work/catalog

Eurodisc was a joint distribution label with Ariola, as far as I can gather.

[piano3]

For those really interested in the Russian catalogue there is the label "vista vera" and of course there is the mind boggling complete Svetlanov edition from warnermusic.fr
I am interested to read that there is someone else who doesn't consider Arthur Rubinstein to be the ultimate in imaginative performance. He achieved an unbelievable career while many of his colleagues who were both better pianists and more insightful musicians languished in relative obscurity. There can be no doubting AR's fantastic talent but he simply lived off it. His pre-eminence is a total mystery to me.

[jlsem]

As a friend of mine once told me, "A big pecker didn't make Rubinstein a great pianist any more than it made Milton Berle a funny comedian."

John

[SY]

You guys are big on cover bands.

[jlsem]

Good luck finding a recording by the original artist.

John

[piano3]

Thanks for writing that John-I couldn't quite bring myself to!

[scott wurcer]

Originally Posted by ThorstenL

Scott,

Funnily enough, that generally does not quite appears to be the case based on the records in my own collection. It seems mostly a question of "who cut it.


I used to do that with a separate digital EQ. HOWEVER, this presumes that we first A2D convert the LP Signal, and the re-convert D2A and out. This is something most of the potential customers for a PH-77 will not stand for.

Given that it is not particularly difficult to accommodate additional, switched time constants in a split RIAA EQ design we elected to do it that way...

Thanks for clarifying that. So what is delivered by the recording engineer and producer is sacred in a sense? I would think then careful CD reissues need no tonal adjustments. I have never experienced any setup where there were any tone controls, I guess it’s a whole new world. I admit the folks I have met over here are into the RCA/Mercury thing but the Decca’s and Lyrita’s that I have had in my collection sounded fine to me. I have a soft spot for Bob Ludwig’s work on Nonesuch for the range of things from George Crumb to David Lewiston’s field recordings. Maybe Bob doesn’t rate mention with the un-named masters.

The A/D is already there, possibly all that digital post processing is not worth adding as an additional feature, it could all be done in software anyway. I’m sure the USB digital fine I use several myself. Now that I can see the curves I might try some of my better Decca’s w/wo.

[scott wurcer]

Originally Posted by jlsem

Milton Berle a funny comedian.

John

First Reiner now uncle Milty. I admit I preferred Steve Allen or Ernie Kovacs but stop short of the Rat Pack and the running joke of being plastered (Ernie did it better).

[flavio81]

Originally Posted by scott wurcer

engineer/producer wanted. Most listening environments have plenty of +-2 dB bumps and grinds.

Yes, most listening environments are full of bumps and valleys. 10dB bumps!

But that doesn't mean a 3dB change in a frequency is not heard. It does make a change. But still the point is that a listening room is very, very far from a flat freq response.

[MiiB]

But in the case of the listening room we also bring our very own room adaption psychoacoustic brain.. so lets keep the room out of the equation.. and keep the focus on the need for different eg. curves to fit different labels...