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Hi all I fully expect some of you to tell me I told you so.Several months ago I thought about upgrading my DVD-Audio player to a universal one that decodes DTS for better sounding movies and SACD as well.
I wanted SACD playback I missed my Erich Kunzel and Paavo Jarvi recordings and most of them are not available on LP, Reel to Reel or Cassette. Even though I have tons of Arthur Fiedler and the Boston Pops on RCA Living Stereo Reel to Reels and LPs and love them dearly, they don’t have Michael Bishop’s nifty sound effects that make the Erich Kunzel SACDs so much fun.
One might ask why I didn’t go all analog for Movies the way I went all analog for music. Simply reason is Videotape does not have enough resolution, and while the quality of LaserDisc can be very stunning I can no longer rent them. So I am keeping the DVD video format because there are rentals everywhere.
OK so back to the Universal players, I researched players for TOC reading issues and Denon looked like the best in this regard based on my research and others. And Sony and Marantz had the most reported problems. I used to sell stereo equipment at the Good Guys and to me Denon’s have always sounded cold. I much preferred the “warm” sound of Yamaha’s to even the Sony ES we sold. So after much research I purchased the Yamaha DVD-S1700.
I am not truly back to SACDs as a group but am only after the Telarc SACDs for now. I have discovered that Circuit City has lowered their price of Telarc SACDs to $13.99 each with free shipping so I can buy them back for around a dollar more than I sold them for. Thank you Circuit City! Plus there are many new Telarc SACDs I have never heard before.
I also made a truly stunning discovery: regular Telarc CDs sound excellent on this player. As reported by me over the past 14 years most Telarc CDs didn’t produce the painful headache producing strident string tone common to other CDs but they still sounded too cold to be enjoyed. Well Yamaha performed some sort of miracle because Telarc CDs sound almost as warm as Telarc SACDs and get this they have much of the “midrange magic” of the Telarc SACDs. Still Telarc SACDs have more extended, airy and feathery highs and more impact and realistic bass. Because of the excellent performance of CDs on this player and lack of any of the CD nasties I can get all of Erich Kunzel’s recordings!
I have all of my favorite analog recordings in their analog form, now it’s time for Telarc. For me 2007 will be my year of Telarc.
SACD performance is a notch below my old Xindak SCD-2 but it is way better than the unmodded Sony 9000ES. It is still stunning, exciting and has a lot of the “tube” warmth of the Xindak, with just slightly less intricate detail in the highs.
This is my third time to try SACD and I hope it’s a charm.
The first time I had SACD only at home and Cassettes for the car.
My second trip into the SACD waters, SACD had to share playtime with first LPs and later Reel to Reels.
This third visitation SACD will be sharing playtime with LPs, Reel to Reels and Cassettes as I can now play cassettes at home as well when I bought a Nakamich cassette deck for $39.50 at the Salvation Army. It works perfectly and all I had to do was adjust the azimuth!
I figure SACDs and CDs will be only getting about 15%-20% of my playtime. For example I listened to 3 Reel to Reels, 1 Cassette and 1 SACD yesterday.
Also to create more storage space I sold a lot of duplicates for example before selling my SACDs players last time I had Gould’s Latin American Symphonette on Vanguard SACD, Analogue Productions LP and Barclay-Crocker Reel to Reel. I just sold the Reel to Reel and will be keeping the Analogue Productions LP version only.
I also had two versions of Sheffield Lab’s “The Missing Linc” one on Direct to Disc LP and one on Nakamichi Reference Series pre-recorded cassette duplicated in real time on TDK Metal tape, and in every possible way, especially the deep bass, imaging and fullness of the midrange the little cassette is the one to listen to.
No longer will I buy recordings in multiple formats. If Telarc Analogue made 180-Gram LPs or pre-recorded Reel to Reel tapes I would not have cared if my new DVD player played SACD or not. But the lure of Telarc’s superb engineering along with Erich Kunzel’s fun and exciting recordings and Paavo Jarvi’s fresh new brilliant definitive views of modern classics became too hard to resist.
"Music is love"
Teresa
Follow Ups:
Yamaha CD players tend to be a bit soft and polite sounding... this is what you're hearing. It uses "upsampling" which also tends to take the "edge" off. No "miracle" whatsoever. I'm glad you found a player that you like.
welcome back, try the DSD regular Sony CD's for me. I was listening to Telarc's Beethoven 9th with Dohnanyi and Cleveland, and it was a bit restricted in air and flat in perspective, but oh, what a performance!My friend wanted to hear a Beethoven 9th on cd after realizing for the first time how good LP's are/were. He preferred my Jochum Concertgebouw Philips LP, even though the frequency extension and immediacy and performance couldn't keep up with the Telarc.
I did play some real good regular cd's last night. Maybe you'd give it a whirl. The engineer attends our LA/OC Audio Society group.
I saw your post one day after having inaugurated my off-Ebay vintage analog system of Ortofon/Dual/Sansui 5000X/AR4xa. First time hearing vinyl since 1982: overall, very impressive on less-than-totally-demanding material. Wouldn't fancy Mahler, though, after having got used to Chailly/DVD-A or Fischer/SACD!! Seeing the reference to my favorite Beethoven cycle seemed a good omen, though. The irony? Pretty much the identical setup I ditched circa 1977!!!!
when one considers that in 1977, I was a grad student and single, so lots of freedom. I owned a McIntosh C26, a MC 2100, a pr of ESS Transtatic I's ($600/pr from a doctor and professor used), Linn LP 12 and Basik LVX Plus with Shure V15III HE, still works and is main table, then changed and had a GAS Son of Ampzilla with Hafler DH 101 and other preamps.I still have 90% of my records from then, plus many others. The Beethoven 8th/9th with Leonore Ov 2 by Jochum/Amsterdam is a $8 special in mint condition on Philips. I love lots of his stuff, one favorite being the Beethoven 4th on an original tulip DG with Berlin Philharmonic.
But I hear you about the modern Mahlers. I have the capability to play those as well with my Pioneer universal Elite, but need to upgrade eventually. Actually, I have way too much fun with $1 vinyl nowadays to feel any urgency.
When folk talk of a typical (or should it be stereotypical?!?) grad. student's audio, I don't think that's QUITE what they envisage!!!Yeah, Jochum's a life-long obsession. Thankfully, I was in London at the times when he was recording with the LSO and LPO, and attended many of the concerts immediately antecedent to those sessions. And a rehearsal or two--especially the darned finest (incandescent is the only appropriate word)Brahms #2 of my experience. Concert performance itself not quite of that stature--maybe something to do with 11a.m. compared with 10p.m.!?!?
Don't give up too easily on that Pioneer of yours just to satisfy the onward and upward brigade. I have one too and find its video nonpareil and audio still improving though still a tad behind the old battleship-build Denon.
Keep taking the tablets--NOT if they're beta-blockers, of course!!! J.
I dispense tablets including beta blockers (doctor). Again, fun collecting $1 or so vinyl, $15 or so max for any LP almost.Yesterday, I played some Lincoln Mayorga Vol III for family (wife and her relatives) and they were amazed.
The Pioneer DV 47Ai Elite (not the older ones with heavy duty construction) works fine, but is a bit digital and on less than stellar redbook, it has that CD forced quality. But then I play a better CD, and it's nice. Clean, full sound with huge soundstaging. It just doesn't have that intangible "you're there" of vinyl. I thought to upgrade it with a Reference Audio Mods mod or add a DAC. Any thoughts?
I'm sure you well remember. Better luck with this player. Welcome back but as for me, I'm slowly drifting away. The XA777ES remains very problematical and my other players cannot hold a candle to it for sound quality.My main interest is now focused back to jazz and I guess I'll continue to monitor SACD releases but I'm off classical music which most of the SACD primarily is. I can easily spend the rest of my life with jazz and still not dent that genre of music.
Always appreciated your responses to me and posts on this board as well as prompt delivery of discs I bought from you. A happy belated Valentine's Day to you!
"Music is love"
Teresa
I've been re-visiting CD and SACD on myriad systems for over a year now so listen to me: you will not, I repeat, will not find what you are looking for by jumping back on the digital bandwagon.You're trying to tell yourself that re-introducing digital into the room will be "just for fun" and that serious listening will continue to remain strictly within the purview of analog.
Your analog personality wont get upset because you're telling it not to worry: that SACD/CD aka "digital" is...just an extension of your TV system, and after all, your TV system isn't your stereo system, is it? Like two boyfriends in two different states, if you will: they're too far apart to ever force a comparison. In the end, your analog personality will get mad. Very mad.
My therapy for you: Take two Strauss Capriccio's and call me in the morning.
If your SACD player ever develops some problem I can spare you my APL modified Philips SACD 1000 if you are interested.
And yet so typical of you Teresa.
I like Erich Kunzel and Paavo Jarvi, if not for them I wouldn't even have cared if my new DVD player could even play SACDs. Everyone knows you hate Paavo Jarvi, and I don't care!
"Music is love"
Teresa
Actually, I see Jarvi as yet another mediocre conductor. Good in some things, average in most. If there is a word of hate it's over someone's ridiculous ride to and fro between loving SACD to hating it, to loving it, to hating it, and back to loving it again. We all said it was your player, Teresa. I don't throw away anything so willy nilly based on the inadequacies of terrible player and I don't hang on to a player thinking that is the end all in listening pleasure.
On my website you can read where SACD is the finest Digital has yet offered. However Analog is still better. But Telarc doesn't release LPs or Reel to Reel tapes so if I wanted to hear them again I had to have a DVD player that played SACDs.I still do not trust hybrid SACDs and my collection will likely remain small.
Here is just one example of why I value Paavo Jarvi’s conducting so highly, Three versions of Dvorak’s New World Symphony:
1. Kertesz, London Symphony Orchestra (4 Track 7½ IPS Stereo RTR) London / Ampex K-80195 - Superb sound, beautiful and warm and an excellent performance as well.
2. Toscanini, NBC Symphony Orchestra (Stereo LP) Franklin Mint Record Society 2 - Sound not bad for Mono, a very good performance.
3. Paavo Jarvi, Cincinnati Symphony Orchestra (SACD) Telarc 60615 - In my opinion the absolute finest performance I have ever heard of this work and I have heard about 30 versions! And the sound is very spectacular with excellent bass, not as analog sounding as the very analog Kertesz on Reel to Reel.
So the Kertesz 7 ½ IPS Reel to Reel has the finest sonics and the Jarvi Telarc SACD by far the best performance.
And this is not an isolated incidence; nearly every single Jarvi performance beats every other version recorded in the last 50 years! And the sound quality is also of very high quality!
As I have said before he will be considered one of the finest conductors of the 21st century! He puts his personal touch on every thing he conducts just the same as giants of yesteryear such as Fritz Reiner. There is no mistaking a Fritz Reiner performance and there is no mistaking a Paavo Jarvi performance.
Like I said if not for Erich Kunzel and Paavo Jarvi I would have no need for SACD or CD playback on my DVD player as all the other artists I love as available on LP, Cassette and Reel to Reel.
And while my purchases of SACD remain unabated it is a bit of an irony that as you move back to SACD I have been doing some serious research for a new turntable. My early perferences lean toward SME/Grado phono pre/Grado cartridge combo.I might also add that you have often expressed a deep respect for Michael Bishop, and with good reason. Well, you have yet to hear his *real* genius until you have heard is multi-channel work. Your oft-expressed favorite, Jarvi Dvorak 9th is a case in point. The two channel is certainly good, but multi-channel is brilliantly engineered and the two-channel pales by comparison. I'm sure Mr. Bishop say amen to that.
You believe that analog bests SACD (two-channel). Well, multi-channel clearly trumps both. I bet that Mr. Bishop agrees.
Robert C. Lang
You only make yourself look bad when you make posts like that. Teresa has made many positive contributions to this forum long before you arrived on the scene. Her recommendations on classical albums are spot on and no one, and I mean NO ONE, is better at finding deals on SACDs. I have personally saved a ton of money by taking Teresa's advice on where to order specific SACDs. We all know that she has some "different" ideas about the science of reproduction than the rest of us - So what! I don't plan on taking any EE courses from her.Welcome back Teresa. We all knew you couldn't stay away from hi-rez for long.
Teresa is laughable, a joke if there ever was one for anyone interested in music reproduction or classical music. I knew she would do it once again (i.e., return to SACD) even though numerous ones here, including myself, told her to simply find a different transport.
let's dial the rhetoric back a few notches, OK?Teresa's a 'nut', but she's 'our' nut. Kind of like Uncle Fester, part of our family.
Go walk your dog, get another hobby or plug a dike or something?
if Telarc CD's made in Cincinnati float your boat. Jarvi's predecessor, Jesus Lopez-Cobos, conducted some great performances on Telarc CD's during the '80's and '90's, including a knockout Rossini-Respighi "Boutique" coupled with a transcription of Rachmaninoff's Cinq Etudes-Tableaux", a beautiful Mahler Ninth...and a Soundstream Ravel that renders Paavo's "La Valse" tepid.
....best Beethoven SACD recordings, and probably best in last ten years.
Harry
That's useful.
Regards,
Geoff
I've been buying Telarc CDs dirt cheap between $1.00 - $5.00.I would never believe a low resolution redbook CD could not only actually be listenable but also sound this good. Did Yamaha perform a small miracle? Or all the new players for 2007 this good with CDs? Was there some major advance in chips this year? This player premiered at CES this year. I would not believe it if I didn't hear it with my own ears. And I still really don't believe it; it is just too fantastic. The very idea that CDs could not only be pain free but enjoyable as well. It is heresy. And I would not blame anyone for not believing me.
I haven't heard any non-Telarc CDs yet, but I will check some out of the library this weekend.
SACD and CD are likely to remain a diversion as I first thing I wanted to hear when I got home was Felix Slatkin's Fantastic Percussion on Liberty / Bel Canto Real Time duplicated 7 1/2 IPS Reel to Reel tape. But I will try to squeeze in an SACD later this evening.
"Music is love"
Teresa
Teresa,I have no idea what kind of magic they worked on the new players. But I tell you, a month ago I bought a McIntosh MCD201 and since than I listen 90% to SACD's. Before that it was just vinyl. I bought quite some Telarc's lately. And BIS, they are incredible too. I mostly surf on http://www.classicstoday.com/ and read the reviews over there. Btw, if you like jazz, you've got to try the redbooks from www.mapleshaderecords.com, awesome.
Enjoy the music.
Rudy
---
AvianArt
the excellent Turina and Dukas SACDs which I seem to remember Teresa admiring some time ago.But in addition to the discs you mention--and some fabulous Richard Strauss, especially 'Death and Transfiguration'--there remain the Bruckner symphonies. The recordings of #6-9 rival Chailly as the best Bruckner of recent memory. Critically largely ignored, they were a monumental achievement of interpretation, cultural and spiritual empathy, and de luxe orchestral playing. I heard them all live in the concerts antecedent to the sessions. Having heard--and not too long before--live Bruckner performances in London concert halls from the orchestras of Vienna, Berlin, Amsterdam, Leipzig, Hamburg, Munich and Chicago, I had never heared the Cincinnati playing bettered.If you don't believe me, read the critiques on Amazon.com!!!
The recordings had a resplendent olde-world glow that matched the performances. I cannot begin to understand why--given the rather astonishing popularity of Blessed Anton these days and given the paucity of Bruckner on SACD--Telarc has not rushed to release these gems on our chosen medium. But, as you so rightly say Jim, the CDs are definitely not second-best!
As to why Jesus is no longer in the Queen City, there lies a story worthy of Hanslick's activities in Brahmsian Vienna...........
Wonderful performances.Wasn't aware of the Hanslickian intrigue. A shame. In the wake of the Turina, I'd looked forward to far more J L-C/Cincy SACD's.
And when the seemingly inevitable move to your classical ground zero--Cincinnati, of course--takes place, I look forward to introducing you to the other CD labels that have also always sounded great, such as Englands's Hyperion, Sweden's BIS, France's Harmonia Mundi, Germany's MDG and CPO, or Spain's Alia Vox. And I might have to tempt you with Quadraphonic 8-Tracks, reproduced via vintage early 70s gear!!!Still think many of your issues were Sony transport ills coupled with the static/low humidity 'desert air' problem which has even been bedevilling me now that the heat is way up to protect us from ice-storms and snow. Spent two hours this a.m. converting my poor Saturn from a completely sealed ice-cube, then another with my Missus celebrating Valentine's Day digging and sanding the wheels to get out of the parking lot. Yeah, the Cincinnati Symphony is our compensation for the wrath of nature!!!
God Blass. And don't rush to judgment next time; you keep reminding me of me!!!
I really love Harmonia mundi FRANCE LPs both the original issues and the reissues by Speaker's Corner on 180-Gram LPs.I was not overly impressed with Hyperion or BIS SACDs, except for the first three Greig SACDs, the fifth BIS Greig SACD of string compositions sounded really digital in a bad way, I didn't get the 6th one. The MDG SACDs weren't too bad but they were way too expensive. The only Alia Vox I tried was bass shy. I never tried the CPO SACDs because the LSO SACDs were so dreadful sounding.
For now I will stick with Telarc, as I know they will not be contaminated with any sonic ills. Everything else is a gamble especially since I don't like the "Digital" sound. Telarc is the best at not sounding Digital.
I have often thought of adding an 8 Track player, because the very first stereo I owned was 8 Track and I have fond memories of my of my favorite tapes from my teenage years. The thing I hated about 8 Track is songs were often cut in half, faded-down before the track change and then faded-up again. But still this is about the only format I cannot play.
"Music is love"
Teresa
ever again in your whole life.Oh well.
And now you find that CDs may not be the spawn of Satan that you have always portrayed.
So far, only Telarc CDs are acceptable. Soon you will find that others are as well.
How long before the LP collection goes for sale on ebay? Not long, I would bet.
In the early 1980's HP said Telarc's Soundstream recordings (many of which made his super disc list) that Woods/Reiner had an amazing ability to work around the limitations of the Digital format.It seems so even today the realism Telarc gets in SACDs stand heads and shoulders above any one else recording DSD. The closet I've heard are the first three Greig orchestral SACDs on BIS and David Chesky's Area 31 SACD.
I didn't sell all my LPs the last time I dabbled in SACDs and I won't sell them all this time. Though I did sell some to make room for Telarc SACDs and CDs.
Here is my collection so by format:
Cassettes (all labels): 124
LPs (all labels): 176
Reel to Reels (all labels): 99
CDs (Telarc): 16
SACDs (Telarc): 24I have only had the Telarc CDs and SACDs for about two months.
"Music is love"
Teresa
While they make a fine product, so do many other companies.In the end, I go much more by the music than the recording company. The Telarc Rite of Spring, for example, would not be my choice on SACD. That would be the Boulez from Sony Japan, originally from Columbia. Maybe it doesn't sound as realistic as the Telarc. But it is a classic and it speaks to me in a way that the Telarc does not even approach.
You have many treats in store if you finally listen to CDs. There is an almost infinite amount of music available only on the CD format. If they are not the last word in fidelity or realism, the music is essential to me.
My analog collection of 400 recordings is 100% non-Telarc. My LPs, Reel to Reels and Cassettes come from 110 different recording companies, less than half are audiophile recordings. I have pretty much everything I have ever loved from my teen years to date.Here are the artists I have on LP, Reel to Reel and Cassette, listed alphabetically by first name:
Adrian Boult, London Philharmonic Orchestra & Choir
Adrian Boult, London Symphony Orchestra
Al Hirt
Al Hirt, Billy May Orchestra
Alexander Gibson, New Symphony Orchestra of London
Alison Krauss
Alison Krauss + Union Station
Anatole Fistoulari, Royal Opera House Orchestra
Anatole Fistoulari. Paris Conservatoire Orchestra
Andreas Vollenweider
Andrew Kazdin, Thomas Z. Shepard
Andy Narell
Antal Dorati, London Symphony Orchestra
Antal Dorati, Netherlands Radio Philharmonic
Antonio Carlos Jobin, Nelson Riddle, Brazilian Mood
Armando Alberti, Vienna State Opera Orchestra
Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Arthur Fiedler, Boston Pops
B.B. King
Barbara Howitt, Enrique Jorda, London Symphony Orchestra
Beer Barrel Bedlam
Benny Goodman
Benny Goodman Orchestra
Bernard Haitink, London Philharmonic Orchestra
Bernard Herrmann, National Philharmonic Orchestra
Bernie Krause
Billy Joe Shaver
Bob Brozman
Bonnie Raitt
Bruce Cockburn
Bruno Walter, Columbia Symphony Orchestra
Burl Ives, Anita Kerr Singers, Orchestra
Burt Bacharach, Orchestra
Camarata, Kingsway Symphony Orchestra & Chorus
Canned Heat
Carly Simon
Cat Stevens
Charles Gerhardt, National Philharmonic Orchestra
Charles Groves, Royal Philharmonic Orchestra
Charles Munch, Boston Symphony Orchestra
Charlie Barnet
Chicago Pro Musica
Chris Isaak
Christopher Robinson, Louis Fremaux, Birmingham
Chuck Mangione
Clebanoff Strings and Percussion
Corky Siegel, Ozawa, San Francisco Symphony
Count Basie and his Orchestra
Cusco
Dave Grusin
Dave Mason
Dave Valentin
David Crosby
David Oistrakh, Ormandy, Philadelphia Orchestra
Doc Watson
Donovan
Doug Kershaw
Duke Ellington and his Orchestra
Duke Ellington, Arthur Fiedler, Boston Pops
Earl Klugh
Earl Wild, Jorge Mester, Symphony of the Air
Edo de Waart, London Philharmonic Orchestra
Ella Fitzgerald
Elvis Presley
Emerson, Lake & Palmer
Emmylou Harris
Enoch Light & His Orchestra
Eric Clapton
Eric Heatherly
Ernest Ansermet, L’Orchestre de la Suisse Romande
Eugene Goossens, London Symphony Orchestra
Eugene Ormandy, The Philadelphia Orchestra
Fareed Haque
Fats and the Chessmen
Felix Slatkin, Concert Arts Symphony Orchestra
Felix Slatkin, Percussion Ensemble
Ferrante & Teicher
Frankie Goes To Hollywood
Frankie Laine
Frederick Fennell, Eastman Wind Ensemble
"Frederick Fennell, Eastman-Rochester ""Pops"" Orchestra"
Fritz Reiner, Chicago Symphony Orchestra
Gene Lowell Chorus
Gonzalo Soriano, Yepes, Argenta, National Orchestra of Spain
Grateful Dead
Greg Lake
Gregorio Paniagua, Atrium Musicae de Madrid
Hank Lockin
Hans Hagen, Vienna Philharmonia Symphony
Harry Belafonte
Harry Belafonte, Odetta, Makeba, Mitchell Trio
Harry James and his Big Band
Heifetz, Hendl. Chicago Symphony Orchestra
Heifetz, Sargent, New Symphony Orchestra of London
Henry Mancini and his Orchestra
Herb Alpert
Herb Alpert & the Tijuana Brass
Herbie Mann
Hermann Scherchen, Vienna State Opera Orchestra
Hiroshima
Holly Cole
Howard Dunn, Dallas Wind Symphony
Howard Hanson, Eastman-Rochester Orchestra
Hugo Montenegro
Hugo Rignold, Royal Ballet Covent Garden Orchestra
Hugo Rignold, Royal Opera House Orchestra
Irish Rovers
Istvan Kertesz, London Symphony Orchestra
Itzhak Perlman, Guilini, Chicago Symphony Orchestra
Jack Costanzo
James Carter
James Taylor
Jan DeGaelani, Leslie Guinn, Gilbert Kalish, Robert Sheldon
Jan Stulen, The Promenade Orchestra
Janis Ian
Jean Martinon, London Symphony Orchestra
Jean Martinon, Paris Conservatoire Orchestra
Jeff Bates
Jeff Jenkins
Jerry Reed Smith & Tom Fellenbaum
Jethro Tull
Jimmy Martin
Joan Armatrading
Joe Harnell and his Orchestra
John Fogerty
John Klemmer
John Williams, London Symphony Orchestra
Johnny Keating and his Orchestra
Joice Walton
Joni Mitchell
José Serebrier, Czech State Philharmonic
Josh Turner
Judy Collins
K. D. Lang
Kenny Rogers
Kip Dobler
Kiril Kondrashin, RCA Victor Symphony Orchestra
Kirill Kondrashin, Concertgebouw Orchestra
Larry Fotine and his Beale St. Baskers
Leonard Bernstein, New York Philharmonic
Leonard Rose, Bernstein, New York Philharmonic
Leopold Stokowski, London Symphony, Czech Philharmonic
Leopold Stokowski, Stadium Symphony of New York
Leopold Stokowski, Symphony of the Air
Les Brown and his Band of Remown
Lew Tabackin, Miyama and his New Herd
Lincoln Mayorga & Amanda McBroom
Lincoln Mayorga and Distinguished Colleagues
Linda Ronstadt
Linda Ronstadt & The Nelson Riddle Orchestra
Louis Armstrong & Duke Ellington
Louis Armstrong, Danny Kaye, Red Nichols & his Five Pennies
Louis Fremaux, City of Birmingham Symphony
Manhattan Transfer
Mannheim Steamroller
Martin Denny
Mary-Chapin Carpenter
Mason Williams & Mannheim Steamroller
Maurice Abravanel, Utah Symphony Orchestra
Maurice Jarre, London Philharmonic Orchestra
Maxim Shostakovitch, Bolshoi Theater Orchestra
Mel Graves
Men Without Hats
Michael Tilson Thomas, Boston Symphony Orchestra
Michel LeGrand and his Orchestra
Morton Gould and his Orchestra
Morton Gould, London Philharmonic Orchestra
Nanci Griffith
Nat Stuckey
Neil Diamond
Neville Marriner, Academy of St. Martin in the Fields
Nicolette Larson
Norman Del Mar, Bournemouth Sinfonietta
Orchestra del Oro
Paquito D'Rivera, Andy Narell, Dave Samuels
Pat Benatar
Pat Coil
Paul and Linda McCartney
Paul McCartney
Paul Simon
Perez Prado and his Orchestra
Pete Fountain
Peter, Paul and Mary
Phil Collins
Philippe Entremont, Eugene Ormandy, Philadelphia Orchestra
Pieces Of A Dream
Pink Floyd
Poncho Sanchez
Prince & the New Power Generation
Rafael Frühbeck de Burgos, New Philharmonia
Ralph Sutton
Randy Travis
Ravi Shankar, André Previn, London Symphony
Ray Charles Singers
Raymond Agoult, New Symphony Orchestra of London
Red Nichols & the Five Pennies
Reid Nibley, Maurice Abravanel, Utah Symphony
Reinhard Linz, London Philharmonic Orchestra & Chorus
Rene Clemencic, Clemencic Consort
Richard Bonynge, London Symphony Orchestra
Richard Morris, Atlanta Brass Ensemble
Rickie Lee Jones
Robert Farnon, Royal Philharmonic
"Robert Lowden, The Hollywood ""Pops"" Orchestra"
Robert Russell Bennrtt, RCA Victor Symphony
Roger Hodgson
Rostropovich, Sacher, Collegium Musicum Zürich
Rudolf Serkin, Ormandy, The Philadelphia Orchestra
Russ Garcia, University Brass Band
Salvatore Accardo, Dutoit, London Philharmonic
Sarah McLachlan
Segovia, Enrique Jordá, Symphony of the Air
Sergio Mendes & Brasil '66
Siegel, Slatkin, Saint Louis Symphony Orchestra
Siegel-Schwall Band, Ozawa, San Francisco Symphony
Silvio Varviso, L’Orchestre de la Suisse Romande
Simon and Garfunkel
Sons Of The Pioneers
Stan Getz & Joao Gilberto
Stanley Black and His Orchestra
Stephen Bishop, Colin Davis, B.B.C. Symphony
Steve Bach
Stevie Nicks
Sting
Stoneground
Stuttgarter Kammerorchester
Supertramp
Susie Luchsinger
Suzy Boggus
Talking Heads
Tammy Cochran
Tammy Rogers
Ten Years After
Terry Snyder and the All Stars
The Alan Parsons Project
The Art of Noise featuring Duane Eddy
The Banjo Barons
The Beach Boys
The Beatles
The Benny Goodman Quartet
The Chieftains
The Dave Brubeck Quartet
The Doors
The Kingston Trio
The Mills Brothers
The Mystic Moods Orchestra
The Notting Hillbillies
The Pentagon
The Starlight Orchestra
The Statler Brothers
The Warren Baker Orchestra
The Weavers
The Who
Theodore Bikel
Thompson Twins
Tom Grant
Tom Petty and the Heartbreakers
Tom T. Hall
Toto
Tracy Chapman
Trapezoid
Traveling Wilburys
Vanilla Fudge
Various Artists
Vivian Dunn, City of Birmingham Symphony Orchestra
Vladimir Ashkenazy, Andre Previn, London Symphony Orchestra
Vladimir Golschmann, Symphony of the Air
Vladimir Golschmann, Vienna State Opera Orchestra
Wang Chung
Wendy Carlos
Willi Boskovsky, Vienna Philharmonic Orchestra
Willie Nelson
Windows
Woody Herman
Yes
Zero
Zubin Mehta, Los Angeles PhilharmonicSo are you can see the Telarc SACDs and CDs will augment my collection.
"Music is love"
Teresa
While Telarc may be good, equally good reliable labels are Hyperion, Chandos and Harmonia Mundi. And this is just the tip of the iceberg.
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