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In Reply to: RE: Different ERA posted by Ross on May 09, 2021 at 14:34:01
About updating with better parts, the capacitors are old anyways, why not replace with the best.
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Performance-wise, I agree. "Difficult" repertoire was given extensive rehearsals and sound checks (I recall something like 20 rehearsals for the Stravinsky conducts Rite of Spring of 1960, for instance), so musicians were not "phoning in" their performances. And lots of the recordings from the 50s and 60s were premiere recordings (Bartok's Concerto for Two Pianos and Percussion for Columbia, c. 1967; my late friend Jaroslav Karlovsky's Supraphon recording of the Bartok Viola Concerto was the first recording after Primrose's 15-year "exclusivity contract" [as commissioner] expired, and he told me with typical Czech good humour "Izz terrible recording! It vas NEW MOOSICK back zhen!" It is a very respectable recording, BTW).Sound-wise, it is open for debate, I suppose. I like the sound of the Golden Age, more than the current "only two microphones at 2/3 from the back of the hall for maximum authenticity!" dogma, which makes current recordings sound different more for the sound of the hall than the sound of the interpretation. I generalize, but there is a contemporary fetish with being "correct", rather that trying to rediscover a work on one's own dime, with the performing artist's own imagination and creativity.
And I do agree, it doesn't get better than a good pressing of Reiner and Chicago on RCA, or a few of those Mercury recordings (generally a bit too hot for my taste, but when it works, and the mood is right, it can be magic).
As an orchestral player, and because I grew up with many Columbia recordings that I played over and over as a kid and teenager (and still do, LOL!) I do like the now out-of-fashion close-mic'd/multi-mic'd approach. Hearing the magnified articulations like rosin hair exploding on steel string, and brass bells buzzing and extraneous breath leaking past reeds, just sounds right to me. I rarely get to sit in a hall and listen to an orchestra, and when I do, most often it feels like listening to a bad public speaker - in a hall you really have to articulate with molto exaggeration or you sound like Mikey the Mumbler.
Having said all this, when a friend puts out an exceptional release (mon ami Yannick Nezet-Seguin's Rite of Spring on DGG, 24/96 FLAC, for instance) it is quite spectacular. Now if only they would record them with tube-powered analog tape and press them on vinyl!
Edits: 06/12/21 06/12/21 06/12/21 06/12/21
Hi Sony, I have this audio mag. called Listener. It was great and Art Dudley was the man before going to Stereophile RIP.In the issue in front of me is a history of the Dyna ST-70 by Peter Brueniner in which he quotes Walt Bender. Walt Bender knew the worth of vintage tube amps and created Audiomart, a place to trade and sell before anyone was online. Walt said; It takes 3 to 6 months for a transformer to reach 80 percent of it's performance but may take over 40 years to get that last 20 percent.This explains the stratosphere like pricing of old Western Electric gear. That was the 2001 Sept./Oct. issue. Sony, when you asked that question about vintage/new, I had to dig that out. Right now I'm looking at a Heathkit W5 amp. It's as old as me 64.It has a transformer,Altec that looks like a piece of art and if not working persay could be used as a small lobster boat anchor.Take care Sony...Mark Korda
Does Bender explain why it takes 40 years for the last 20% to kick in? That is a LONG burn in (if that is what is going on).
I wonder if this is why my 60-year old Conn 7868 and RCA 203 SE 6BQ5 amps sound so good? They only have smallish, non-fancy looking iron, though, not like the stuff on my Leak TL12 Plus amp, or the transformers I see on the great pieces of vintage tube gear.
Dr. Fuse, he did not give the science behind that last 20 percent thing. It sounds like bullshit but I just wrote down what he quoted...take care...Mark Korda
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