> Actually, the Rubenstein re-releases used very little remastering because > of the care which was used in the production of the originals. He settled > on a particular microphone model and placement fairly early on (in the era > of modern recordings - post-WWII), and while the back end (tape > recorders/etc) changed over time, seldom varied from it. Part of what > makes this fascinating is that, because of this (relative) consistency over > an extended period of time, it is possible to track (within reasonable > limits) the unfolding of how the sound of a particular maker changed during > that period. Yes, yes. This is exciting. > Pre-WWII recordings are, of course, a different matter. Why? Please explain this; I'm assuming radically different recording technology, but please expand. > My own experience, owning many recordings of Rubenstein done over many > years, is that perceived differences between vinyl and CD media (in > re-release of vinyl originals) would be exactly that - a matter of > perception. Oh, my brother, p-p-p-p-please please PLEASE do a class with your archival recordings in Burbank (the California State PTG Conference) next year; I'd commit to working with you to get a killer room and sound system, and we could then have played some of the same stuff on a killer piano, in the same room...oooooh. Damn. Give us the gift of your ears & sensilblities and a lifetime of world-class listening, Horace. The craft needs this kind of inspiration, and the class would be beyond full. Respect & best wishes, David Andersen Malibu, CA
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