Post by Citroen on Jun 13, 2021 20:10:14 GMT 12
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Post by michaelw on Jun 13, 2021 21:07:15 GMT 12
All you need is a minty early US pressing
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Post by cooksferry on Jun 14, 2021 8:16:53 GMT 12
I'm ready to be proved wrong but there's a fair amount of certainty that these expensive UHQR releases are based on the earlier Classic Records mastering if not using the same stampers. I believe all the Classic releases were AAA. Miles Davis - Kind Of Blue www.discogs.com/Miles-Davis-Kind-Of-Blue/release/1800281
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Post by Citroen on Jun 14, 2021 8:19:13 GMT 12
All you ever wanted to know
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Post by cooksferry on Jun 14, 2021 8:24:10 GMT 12
The packaging looks great but I'm happy to have moved on. A few years back the UHQR and MoFi one step releases would have been seriously tempting.
It's almost more about the collectability than the music
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Post by michaelw on Jun 14, 2021 10:27:25 GMT 12
That video runs 2 1/2 hours !
Zzzzzzzzzzzzzzzzzzzz
UHQR, flat records, clarity vinyl - all seen before and no guarantee of qood quality pressings. Nowadays it's all about the $$$$ of collectables. 
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Post by cooksferry on Jun 14, 2021 11:51:48 GMT 12
That video runs 2 1/2 hours !
Zzzzzzzzzzzzzzzzzzzz
UHQR, flat records, clarity vinyl - all seen before and no guarantee of qood quality pressings. Nowadays it's all about the $$$$ of collectables. Classic Records had a lot of problems with their 200gm clarity pressings. I have a few and fortunately they're all ok but there were many complaints about excessive surface noise.
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Post by michaelw on Jun 14, 2021 13:06:42 GMT 12
Yeah re: Classic, good thing I didn't replace my original 180 Living Stereos with newer versions 
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Post by Citroen on Jun 19, 2021 17:18:48 GMT 12
I'll stick with my 2010 Columbia Blue vinyl version.
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Post by cooksferry on Jun 19, 2021 17:52:08 GMT 12
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Post by Citroen on Jun 19, 2021 17:56:29 GMT 12
How do you rate these two in comparison?
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Post by michaelw on Jun 19, 2021 19:43:57 GMT 12
MOV = Digital = yeah nah
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Post by Citroen on Jun 19, 2021 19:51:23 GMT 12
All digital aint bad, just as all analogue certainly isn't good.
I have a few MOV digital albums that I quite enjoy! 😜
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Post by cooksferry on Jun 19, 2021 20:00:41 GMT 12
How do you rate these two in comparison? Never done a comparison. Looking on Discorgs there are several releases from various sources in 2010 so there's a fair chance they have the same mastering but different pressing plants and countries. I don't have any problem with digital in the chain as long as it sounds ok in the end. There are plenty of choices in mixing, Mastering and cutting that may have a greater say in the outcome than having a digital component.
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Post by Citroen on Jun 19, 2021 20:04:32 GMT 12
Couldn't agree more Cooks!
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Post by michaelw on Jun 19, 2021 20:08:38 GMT 12
Some of my funky film soundtracks are on MOV including the recent Ry Cooder Trespass re-issue which sounds fine.
Ditto the Audio Fidelity Blade Runner.
But stuff like the 2012 Beatles...
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Post by Citroen on Aug 24, 2022 20:49:35 GMT 12
The 45rpm announced, 25000 copies, less than 1000 per stamper. US$150
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Post by michaelw on Aug 25, 2022 14:19:35 GMT 12
Have you ever heard an original Mo-Fi UHQR ? I never heard one that was better than a regular Mo-Fi, a low bar that should have been exceeded given all the BS when UHQR first came out.
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Post by Citroen on Aug 25, 2022 16:08:50 GMT 12
What about Analogue Production UHQR, not MoFi ones?
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Post by michaelw on Aug 25, 2022 16:40:17 GMT 12
Not heard any AP UHQR, Was the AP Cat Stevens Tea For the Tillerman UHQR ? Friend has a copy, it's bloody awful ! Loudness wars on vinyl. My early Aus pressing sounded more like music
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Pundit
Post by Dom on Aug 26, 2022 15:05:38 GMT 12
While we're all thinking Kind of Blue ... So, I have a 1977 stereo copy, this US pressing with a nice card sleeve/pasted rear. www.discogs.com/release/9613584-Miles-Davis-Kind-Of-Blue I'd like to find a US mono pressing (preferably not new) that's at the corrected speed. Does anyone reading this know how to narrow down the field so I can pinpoint what I'm looking for? TIA, DD
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Post by michaelw on Aug 26, 2022 16:41:38 GMT 12
What colour label on the 77 ? AFAIK re-issues post-1997 should be speed correct ? Not sure about monos though... various writings say the mono was at the wrong speed, some say it wasn't. I don't have a mono. My red label US and Dutch re-issues sound more "there" than later versions, even at the wrong speed
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Post by Citroen on Aug 26, 2022 17:03:04 GMT 12
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Post by RdM on Aug 26, 2022 22:29:10 GMT 12
It takes a lot of scrolling down, pressing the Show more versions button repeatedly to find it, but I have a flac of it from the Columbia 2013 remastered mono box set CD. I might have another stereo corrected speed version too, as well as the original not speed corrected. www.discogs.com/master/5460-Miles-Davis-Kind-Of-Blue469 versions, incredible but there it is.
Comments as recently as August 25th on the newest as well.
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Post by RdM on Aug 26, 2022 22:38:35 GMT 12
The blurb for that: _ Miles Davis - The Original Mono Recordings (2013) [9CD BoxSet] {Columbia} © 2013 Columbia / Legacy | 88883756642 Jazz / Hard Bop / Modal Music / Trumpet Disc 6 - Kind of Blue 01. So What 02. Freddie Freeloader 03. Blue in Green 04. All Blues 05. Flamenco Sketches Companies etc Recorded At Columbia 30th Street Studio Remixed At Sony Music Studios Phonographic Copyright (p) Columbia Records Credits Alto Saxophone - Julien "Cannonball" Adderley Bass - Paul Chambers (3) Drums - Jimmy Cobb Engineer [Recording Engineer] - Fred Plaut Engineer [Remix Engineer] - Mark Wilder Piano - Bill Evans (tracks: 1, 3, 4, 5), Wynton Kelly (tracks: 2) Producer [Original Recording Producer] - Irving Townsend Producer [Reissue Producer] - Michael Cuscuna Producer [Remix Producer] - Steve Berkowitz Tenor Saxophone - John Coltrane Trumpet - Miles Davis Notes Tracks 1 to 3 recorded March 2, 1959; Tracks 4 & 5 recorded April 22, 1959. "Newly transferred from the original three-track session tapes and painstakingly engineered to recreate the original sound of the recording studio" For nearly half a century, Miles Davis (1926-1991) was arguably the preeminent innovator in jazz - rarely staying in the same place twice, experimenting with the most cutting-edge styles and ideas he could imagine. This year, some of Miles' most enduring works for Columbia Records are collected the way they were originally heard: MILES DAVIS: THE ORIGINAL MONO RECORDINGS. Each CD, newly remastered by Mark Wilder at Battery Studios, is housed in a mini-LP replica jacket, faithfully replicating the original LP sleeves. They are encased in a quality slipcase, alongside a 40-page booklet with rare photos and brand-new essay offering in-depth, first-hand accounts from George Avakian, who signed Miles to Columbia in 1955, AND play-by-play from mastering engineer Mark Wilder. This is the true genius of Miles Davis as most people first heard it, the way it was intended to be heard: in mono. The 2013 box set The Original Mono Recordings, brings together all nine of the albums the legendary jazz trumpeter recorded for Columbia that were originally released in mono, including 1957's 'Round About Midnight, 1957's Miles Ahead, 1958's Milestones, 1959's Jazz Track, 1959's Porgy and Bess, 1959's Kind of Blue, 1960's Sketches of Spain, 1961's Someday My Prince Will Come, and 1964's Miles & Monk at Newport. Remastered using the original master tapes and with pristine versions of the LPs as comparative benchmarks for sound, these mono versions have a warmth and immediacy that, at the very least, match the stereo versions, and to some ears may even outdo them. Prior to 1959, all of Davis' recordings for Columbia were released in mono. Which means that, although stereo became a popular format during the '60s, most listeners first heard these landmark albums in mono. In fact, mono was considered the most faithful and purest representation of how the music sounded in the studio. There is some logic to this notion, as the aim was to present the music in the truest regard to the overall sound of the band in the studio. Subsequently, there is less post-production trickery involved on the mono versions. There is also a clarity and depth to the sound quality on these albums, especially when it comes to the piano and bass, that stands apart from previous stereo versions. It's as if you can see farther into the recording, revealing a fuller aural picture of the band as a whole. For some listeners this may not matter, but ultimately, for others, it will mean that these mono remasters, whether bought individually or as a part of this box set, will be must-have additions to their collections. From the start of the Miles Davis-Columbia relationship, enormous care was taken to record his albums, and no expense was spared to promote the results. The producers and engineers who toiled on Miles' albums between 1955 and 1963 considered mono truer to the original sound and original intent, even after the advent of stereo in 1958. Miles Davis: The Original Mono Recordings offers Miles' nine earliest Columbia albums remastered and complete in one package - all in impeccable mono mixes for the first time on CD. Seven of these albums - 'Round About Midnight, Miles Ahead (both 1957), Milestones (1958), Porgy And Bess, Kind Of Blue (both 1959), Sketches Of Spain (1960) and Someday My Prince Will Come (1961) - are familiar classics which saw Miles rise to prominence as an architect of the "hard bop" style of jazz before revolutionizing the genre with ventures into modal jazz. Of these, Milestones and Kind Of Blue remain among the most universally recognized jazz recordings in the world. Miles Davis: The Original Mono Recordings also includes two exciting rare albums: 1958's Jazz Track features 10 compositions recorded for a French film, L'Ascenseuer pour l'echafaud, and three selections from an acclaimed session recorded shortly after the release of Milestones (and a prelude to Kind Of Blue - starring Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb - offering the only other studio sides we have by Davis's sextet before they would record what became the best-selling jazz album of all time). Miles & Monk At Newport, released in 1964, features selections from two separate live performances at the Newport Jazz Festival: Davis' leading the same sextet from Jazz Track in 1958, and a 1963 set from pianist Thelonious Monk, just recently signed to Columbia from the Riverside label. Features: 9 CD Box Set Miles Davis' First 9 Albums for Columbia Records in One Package First Time on CD the Way They Were Meant to be Heard: in MONO Each CD Newly Remastered & Housed in Mini-LP Replica Jacket Each CD Encased in Quality Slipcase 40-Page Booklet with Rare Photos & Brand New Essay _
There might be similar LP versions?
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Pundit
Post by Dom on Aug 27, 2022 11:51:08 GMT 12
What colour label on the 77 ? It's a red 'one-eye' with Columbia repeated around the periphery between each eye.
Citroen, I don't have perfect pitch either, just the desire to hear a work as intended, where feasible/affordable and in my preferred format. DD
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Post by michaelw on Aug 27, 2022 13:01:59 GMT 12
The eye count on Columbia labels refers to the total number of eyes, Eg, 6-eye
2-eye
"each eye" means more than one ? 
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Post by Citroen on Aug 27, 2022 15:51:00 GMT 12
I only know of 6 or 2 eyed labels.
Are there others? 4 eyes?
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Post by michaelw on Aug 27, 2022 16:49:05 GMT 12
Only seen 6 or 2 No odd numbers
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Pundit
Post by Dom on Aug 28, 2022 11:57:43 GMT 12
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