Jazz (Studio Master): Bill Evans Trio - Waltz For Debby

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maty
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Jazz (Studio Master): Bill Evans Trio - Waltz For Debby

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Días atrás, caté otra versión que me gustaba más que la que tenía, aunque decidí conservar las dos.

AvaxHome Bill Evans Trio - Waltz For Debby (1961) {2000 Riverside Remaster 20bitK2}

por ruskaval

La nueva (Studio Master) me gusta más (ojo, todavía no la he escuchado en las cajas Denon, así que hablo desde la memoria sonora).

AvaxHome The Bill Evans Trio - Waltz for Debby [24bit/96kHz studio master]

por rohitbhalla
A truly landmark jazz recording, 1961’s Waltz for Debby redefined the possibilities of the piano trio. Scott LaFaro’s ultra-melodic bass-work, Paul Motian’s fluid drumming, Evans’ virtuosic, impressionistic playing and the trio’s nearly telepathic interplay set a standard that has yet to be exceeded. This hi-res remastering adds new depth and warmth to an already essential audiophile live set.

*Remastered by Paul Stubblebine using the Keith Johnson-designed Pacific Microsonics converter

"These files are transferred from the original analog master tapes exclusively, not from safety copies or production dubs. The transfers are made in a facility dedicated to getting the most quality possible from these masters, and preserving all of the information in the files so that it's available to the listener. I'm an experienced mastering engineer, but I've also been an audiophile myself for decades. Because of my background in the audiophile world I am sensitive to the qualities of sound that an audiophile values, more so than many engineers in the pro recording world.

"In our decades-long study of the factors which are responsible for sound quality, my colleagues and I have found a number of key areas which must be addressed. First, it is critical to recover as much information as possible from the tapes, since detail lost at any stage can never be restored at a later stage. We use only top quality tape transports (highly tweaked Ampex ATR-100's and Studer A80's) matched with custom playback electronics from ATR Service or Tim de Paravicini. The playback electronics that came with these decks years ago just don't compare to the audiophile grade electronics we've all gotten accustomed to in our systems. The custom electronics that we use recover much more musically meaningful detail, more spatial cues, and more texture and three-dimensionality than the stock electronics.

"Decisions about any potential rebalancing or sonic restoration are made in acoustically treated rooms equipped with highest-quality audiophile playback systems. Any circuitry in the signal path, as well as cabling and AC power, are chosen for sonic performance. At the crucial step of analog to digital conversion, we have chosen the Pacific Microsonics Model Two ( designed by the legendary Kieth Johnson of Reference Recordings fame ). As important as all this is, there are two even more important parts of the puzzle: first, the experience and judgment of the mastering engineer in deciding when to adjust something and when to leave things alone. Second, our commitment to work as hard as necessary, and to avoid any shortcuts which might compromise quality.

"For instance, when both a 96K file and a 192K file are called for, it would be faster and more efficient to transfer it once, at 192K, and use a file conversion utility to convert it down for the 96K file. The file conversion programs are pretty good these days. Are they 100% as good as a direct transfer? This is a question we lose no sleep over. We take the extra care; we wind the tape back to the beginning, reset the capture system to 96K, and transfer it again. It's more work, but the result is something we can stand behind unequivocally. This commitment to do whatever it takes to get you the highest quality listening experience is at the heart of the Stubb-U-Sonic(™) principles." - Paul Stubblebine, remastering engineer
Que disfrutéis de esta obra imprescindible.
Última edición por maty el Mié 18 May 2011 , 14:58, editado 3 veces en total.
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encarni
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gracias , maty :wink:
Sclavis
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Gracias Maty. Le echaré un vistazo yo también.

Un saludo
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maty
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Sorpresa con Bill Evans Trio - Waltz For Debby

Mensaje por maty »

Sorpresa!

En los discos duros externos tengo la versión 20bitK2 y... la misma de esta reseña pero a 16/44.

Comento las diferencias:

20bitK2 y 16/44 tienen un volumen mayor, sonando mejor la 20bitK2.

La 24/96 tiene un volumen inferior. Una vez que igualo el volumen suena mejor que la 16/44!!!

Por tanto, sólo guardaré 20bitK2 y 24/96, que suenan ligeramente diferentes, gustándome los dos ripeos.

Una vez más verifico que noto las diferencias en mi equipo, no así en casa de Juluska y en la de Andreu, cierto es que con otras grabaciones.

Días atrás estuve haciendo pruebas (he de anotar, mas la actualidad política tiene prioridad en estos momentos). Llegué a la conclusión que el factor diferencial estaba en el dithering. Cuando el paso de 24 a 16 bit utilizaba el dither triangular o el sharpen/perfilado, eran indistinguibles los 16/48 respecto a los 24/96 originales.

Sin dithering o con el rectangular, notaba la diferencia, sonando peor, perdiendo altas frecuencias o ganando bajas el conjunto.
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Sr.Audio
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hola, Maty

Gracias por el aporte. No conocía el disco.

La versión que tengo creo que es de las primeras

Imagen

En la contraportada pone (P) 1987 (C) 1992, lo que nos da una idea que el Cd es algo "vintage", pero me gusta ;)

Saludos!
"Los amantes de la música son gente tan poco razonable y tan absurda... Siempre quieren que estemos completamente mudos cuando en realidad de lo que tenemos ganas es de estar completamente sordos"

Oscar Wilde
jsc010
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Mensaje por jsc010 »

Sr.Audio escribió:hola, Maty

Gracias por el aporte. No conocía el disco.

La versión que tengo creo que es de las primeras

Imagen

En la contraportada pone (P) 1987 (C) 1992, lo que nos da una idea que el Cd es algo "vintage", pero me gusta ;)

Saludos!

esta version es brutal, se escuchan hasta las copas.
Un saludo, jaime.
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Ceregumino
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Si os gusta el disco os recomiendo un disco de 1964 de Bill Evans con la cantante sueca tristemente fallecida en accidente domestico, Monica Zetterlung.
Imagen
Muy bien grabado aunque ligeramente alto y satura algo en algunas ocasiones. Puede ser el ripeo.
Con ecualización se oye perfecto.
Un saludo
Cere

When you hear music, after it's over, it's gone in the air. You can never capture it again.
In memorian Eric Dolphy
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maty
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Monica Zetterlund and Bill Evans - Waltz For Debby

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AvaxHome Monica Zetterlund and Bill Evans - Waltz For Debby (1964) {2001 Remaster}

por ruskaval
This 1964 date that places Swedish jazz vocalist alongside the Bill Evans Trio (with Chuck Israels on bass and Larry Bunker on drums) is one of those oddities in Evans' catalog. The match is seemingly perfect. Evans' lyricism is well suited to a breezy, sophisticated songstress like Monica Zetterlund. There is an iciness on this recording, but it is difficult to decipher if it is in the performance or in the engineering where she seems to be way out in front of the band, when she was really in the middle of all the musicians in the studio. This is a minor complaint, however, as the tune selection and decorum of these sessions are quite lovely.

From the opener "Come Rain or Come Shine" through the Swedish ballad "A Beautiful Rose" and the achingly gorgeous delivery of "Once Upon a Summertime," it's as if Zetterlund were destined to sing with Evans for a career instead of an album. For his part, Evans is very relaxed, allowing the lyrics to feed his musing on the simple, yet elegant harmonics. The Swedish version of "Waltz for Debbie" is a true delight because Zetterlund's voice becomes another instrument, soloing over the top of Evans' stunning selection of comping chords.

In all this is an odd but special item, one that is necessary -- for at least one listen -- by any serious fan of the pianist and composer.
ciudadano
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vaya discazo¡ Bill Evans magia
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