Dog and suds vinyl record album

LPs anyone? [vynil records to the younger set ;) ]

An obs cure set by Lockjaw — a recording that features his tenor backed by the Shirley Scott organ trio — with George Duvivier on bass and Art Edgehill on drums. Tracks are short, and mostly standards, but they're played with that gutbuckety sound that Davis and Scott had when working together — almost tighter than their work at Prestige, and with a sound that was strongly in keeping with the groove they were laying down in the clubs. LP, Vinyl record album Orange label stereo pressing. Incredible work from Chocolate Star — less a group than a record label or project name used for some excellent underground club recordings from the late 70s and early 80s!

As classic an early album by Miles Davis as you can find — truly filled with the "all star" players billed in the title, and a session that has the sharpness of Davis' bop work for Blue Note, yet also lets him stretch out in a slightly more relaxed format! Cover is discolored from age, with a small sticker on back. Typical Wild Bill combo stuff, but with the added bonus of the obs cure tenor player Maurice Simon. All tracks are from My Fair Lady, but they do manage to swing them pretty well, especially since Jo Jones is on drums.

LP, Vinyl record album Mono pressing with deep groove. Cover has a small split in the top seam and a peeled spot on front. A really strong little western score for this obs cure Terence Hill film from the early 70s — a soundtrack that still works in the conventions of the spaghetti western genre, but which also uses other instrumental twists from time to time — making for a nicely varied set! A few of the tracks have a more solid orchestral approach, others use some acoustic guitar in a very spare setting, and a few others go for an odder, almost folksy sound at times. The theme track features vocals from Gene Roman, and the Nora Orlandi chorus sings on a few more numbers too.

This edition from Digitmovies includes 6 bonus tracks. LP, Vinyl record album Limited edition pressing of ! Messed-up funky jazz from an obs cure early 70s UK group — and an album that really lives up to its trippy cover! The tracks are all long and stretched out — with lots of organ, sax, and spaced out drums — and the overall style is a mix of dub-heavy funk, Afro jazz, and a bit of jazz rock jamming! There's a bit of vocals on the album, but overall most of the set is instrumental — in a really right on and progressive style that we totally love.

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This is the kind of record that always got passed by in the 80s when everyone was looking for hard James Brown grooves, but which is very much in fashion now with the blunted funky crowd. An obs cure set by the overlooked jazz singer Joe Derise — who's best known for his albums on Bethlehem in the 50s! This set is very spare — just Joe on vocals and piano, and Bill Popp on bass! The record was recorded for the short-lived and excellent Jazztime label, but is issued here by Muse.

Given Boyd's obscurity, it's no surprise that this material has been issued under Kenny Dorham's name, just to tie it to a more famous player. The group's got a warm hardbop tone, and although Boyd falters at times, Dorham's in very nice form, and is a good match for Bishop's lyrical piano. An obs cure high school band — but a very hip one! This one hails from the Dunbar High School on Chicago's south side — and it's directed by trumpeter Willie Naylor, and features some great young southside talents. We don't recognize any names, but the group's got a strongly soulful sound — thanks to the addition of electric piano and bass, guitar, and some great conga work.

The set kicks off with a strange reading of "Lil Darlin", complete with narration by the principal of the school, extolling the virtues of the organization. Highlights include a great reading of Bobby Bryant's "Prayer For Peace", with a nicely rolling groove — plus the driving "Shauntita", written by Naylor. LP, Vinyl record album Shrinkwrap has a small hole at the bottom. A well-titled album from Harry "Sweets" Edison — not just because of its play on his nickname, but because of its overall sound!

The set's an obs cure "with strings" date for Harry — one that has his trumpet nicely wrapped up in larger backings that have a gentle, laidback feel. The moody, mellow sound is a great complement to Harry's horn — really showcasing his talents on muted ballads — and the album also features contributions from Gerald Wiggins on piano and Leroy Vinnegar on bass.

LP, Vinyl record album Original orange label pressing. Very cool single by this obs cure Euro groove group. The flipside's a bit more trashy, but the single's a nice one, and possibly the group's only US release! A modern minimalist watershed — and maybe one of the first indications that Brian Eno was moving onto higher ideas in his music! The album's an important release on the Obs cure series from Island Records — a special imprint that was curated by Eno, as a way of giving showcase to new ideas in British music that were neither free jazz, punk, prog, or any of the styles that were getting more play on the bigger labels!

The album features the beautiful title piece — "Discreet Music", a long work that relies on a simple system of delay and recall, with slight variations occurring over the space of time, due to slight occasional interference from the composer. Side two features "Three Variations On The Cannon In D Major By Johann Pachelbel" — a great reworking of the baroque music classic — which works along similar lines, taking this very familiar classical theme, and breaking it down into simple components, which are then interwoven and played in repetition, creating a strange little bit of romantic minimalism.

That second piece is performed by the Cockpit Ensemble, conducted by Gavin Bryars — who also got some great early releases on the Obs cure label too! The one and only album by Exit 9 — an obs cure funk combo who recorded this rare set for Brunswick in !

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The group is extremely tight instrumentally — working at a very fast funky clip that's kind of similar to work by Bohannon or Sound Experience — both of whom shared Exit 9's pre-disco approach to dancefloor grooves — more fast-funk than the tighter club sound of later years, and proof that a funky combo could hit the dancefloor if it had the right groove! Most numbers have vocals, and instrumentation includes lots of nice guitar work that keeps a rawer edge on the tracks — choppy and gritty in a really great way.

A range of never-issued recordings by sound wizard Luc Ferrari — all pulled from his personal archive! Side one features the very extended "Photophonie" — done for a photographic exhibition, and with a sound that's in the noisier, more striking side of the electronic spectrum at the start — then moves into these moodier, more open passages that have voices that slip in and out of the mix — almost like these whispering demons in conversation. Last up is "Leica" — a work with this building cyclical wave of electronic sound, and a feel that's almost like a creation from the BBC Radiophonic Workshop!

LP, Vinyl record album Limited edition! A dark little soundtrack that we'd pitch right up there with The Wicker Man or Rosemary's Baby — and one with a sound that's somewhere in between those two classics! The work was penned for an obs cure early 70s film in the Czech new wave — and features music that's sometimes a bit folksy, sometimes a bit spiritualist — served up in a blend of light orchestrations, occasional choral passages, and eerie isolated instruments that include flute, harpsichord, organ, and bells!

There's a darkly brooding quality that really reminds us of Komeda's last great moments for Polanski — but the overall sound is a bit freer, and more illustrative as well — little snippets of poetry in sound, created with a feel that's as evocative as the images they were designed to accompany. Mellow work from Tommy Flanagan — working here in great trio formation with Roy Haynes on drums and Tommy Potter on bass! The overall feel of the set's in keeping with the more laidback style of Prestige's Moodsville label, and Tommy tickles the ivories nicely on some standards that include a few nice obs cure numbers.

Obs cure midwest group with Rufus Reid on bass and Art Hoyle on trumpets. There's a vague Sun Ra connection here, which mostly manifests itself in the record's cool spare spacey sound. The standout cut is "Frump Trump", which has a nice hard boogaloo sound, and a great breakbeat on the intro. Other tracks include "Incantation", "Abberations", "Peregrine", and "Reverberations". A lost groover from this obs cure soul jazz guitarist — recorded with some pretty interesting backing, and a firey guitar style that makes us wish he'd recorded more!

Sonny's guitar work is right out front — very complicated and bluesy, mostly single-note plucked, in the manner of Grant Green, but with a lot more inflection on the strings. LP, Vinyl record album Cover has some wear. This spirit really comes through in the sublime cut "I'll Keep A Light In My Window" — which has a beautifully mellow jazzy groove, and which is on a par with anything Maurice White was laying down in the mid-tempo mode in the 70s — but the whole album's mighty nice, and other titles include "Smile", "Spirit Of Love", "Second Coming", and "Say You Do".

One of the most obs cure albums from Dave Frishberg — a set that only features him on piano — partly solo, and partly in a trio with Monty Budwig on bass and Donald Bailey on drums! A pretty great little album by the multi-reed player Ralph Gari — and obs cure New York talent that we've only ever heard on this one side cut for Mercury during the 50s.

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The focus here is on Gari's great reed work within a small combo — and he plays alto, clarinet, flute, and oboe on the album's tracks. His alto work is fairly heavily featured, which is great, because he's a tight angular player in the Boston soul mode of artists like Dick Johnson or Charlie Mariano. Great stuff, and kind of like some of the excellent Hal McKusick albums from the same time! LP, Vinyl record album Japanese pressing — with insert! An obs cure little quartet session from Red Garland — recorded with Les Spann on both guitar and flute, caught at a time when he was just starting to make waves on the New York scene!

The presence of Spann gives the record a decidedly different feel than most of Garland's work on Prestige — as the hollow-body guitar tones bring some much bluesier inflections to some of the tunes, offset by more chromatic runs that really illuminate others. Red's own piano is still wonderfully soulful, and presented here with a pointed sense of economy on some numbers — and rhythm is by Sam Jones on bass and Frank Gant on drums.

Cover has light wear and aging. Obs cure out session of tracks by this famous Italian pianist — recorded with a large-ish group that includes Eraldo Volonte on tenor, Glauco Masetti on soprano, Dino Piano on trombone, and Gianni Basson on tenor. The tracks are long, with a very avant sound to them — with lots of fragmented piano lines from Gaslini, and some tight angular horn passages from the band. LP, Vinyl record album Cover has a small bit of seam splitting, but is nice overall.

LP, Vinyl record album Cover has some light wear, but this is a nice copy overall! LP, Vinyl record album Very cool package — with a die-cut flap! Very obs cure record made by the enigmatic Leo Gooden, a politician and night club owner from East St. Louis who made a few records on his own tiny LG label. LP, Vinyl record album Original copy. One of the most obs cure sessions on Strata East — and an excellent groover that really keeps up the label's soul jazz spirit! Jon Gordon's a lesser-known trombonist from the 70s, but he's working here with an all-star group that includes Charles Tolliver on trumpet, Stanley Cowell on piano, Roland Alexander on reeds, and Andrew Cyrille on drums — all coming together with a spirit that's quite similar to that of Tolliver's classic Music Inc recordings of the time!

The titles are mostly all originals by Gordon, played in a loping, lyrical mode that often bursts out with a free-thinking approach to the solos. Quite an obs cure session from one of the more unique players on the west coast scene of the 50s — even more obs cure than his albums for Decca! LP, Vinyl record album Brown label pressing with deep groove. Cover has some edge wear. A really fantastic album from guitarist Grant Green — a set that's every bit as great as his other Blue Note funk albums from the time — but in a very different way!

First off, the group has vibes — played by the more obs cure Willie Bivens, sometimes with this hard chromatic sound that's really wonderful — especially when combined by the organ work on the set by Ronnie Foster and Neal Creaque — both very cool players with an unusual conception — which sends the whole thing off in very hip territory! The mighty Idris Muhammad plays drums — ensuring a very tight bottom — and the group also features Claude Bartee on tenor, who has a strong, soulful vibe.

A very very cool record — an unusual take on the music to The Connection — that hip early 60s play that featured a more famous version of the soundtrack on Blue Note Records! This version's much more obs cure — part of a "localization" that occurred when the play would travel from town to town — and it features a Detroit-based recording, headed by keyboardist Johnny Griffith — who also recorded famously for Motown and RCA! Griffith's playing electric piano here, which really changes the vibe of the music — and the players are supposedly a host of Motown studio musicians — playing jazz here, but with a nice funky soul undercurrent.

The group has two guitars, which really kicks in nicely with the rhythms under the horns — and titles include "Wiggling", "Music Forever", "Time To Smile", "O. The only album we've ever seen from Jimmy Grissom — an obs cure Chicago singer from the early 60s, one with a style that's somewhat like that of Oscar Brown Jr, but which also has some deeper, bluesier touches too! LP, Vinyl record album Grey label Argo pressing with deep groove.

Cover has a small cutout hole. An obs cure one from bassist Charlie Haden — a set of spare duets with guitarist Christian Escoude! LP, Vinyl record album Cover has a hint of light wear. Obs cure session featuring a spiritual batch of tracks with a slightly avant edge to them. An amazing record, from an amazing player — the mighty Rufus Harley, heard here on tenor, flute, and soprano sax — as well as bagpipes, his "trademark" instrument!

Don't be put off by the bagpipes, though, because Harley plays in a righteous soul jazz groove, and uses the instrument more like a Coltrane-ish reed soloing vehicle, with sheets of hard blown sound, than he does as a corny Scottish sounding one. If you retire from orchestra playing you have a career waiting for you in hi-fi sales. I wish we lived closer Paul. I would give you a good demo so you could hear what the gobledegook is all about. Maybe you can help me out here. What are "accurate textures"? When I tried to look it up, I noticed that "an unprecedented level of revealed texture" is a phrase that appears in the Lyra sales literature.

That's your brand of cartridge, right? Note here that "pacing and rhythm" is language that appears in Ortofon sales literature for their cartridges. This is exactly what happens all the time throughout the history of hi-fi. The manufacturers churn out an endless stream of increasingly bizarre neologisms in their sales literature, and consumers, eager to defend their expenditure of obscene amounts of money, choke it all down.

So-called experts, in an effort to appear "in the know" gladly play along. Then they all repeat it to one another in online forums until they actually believe it. None of the terms are ever actually defined. For example this language appeared in a review of Sumiko's pretentiously named "Ranier" cartridge: "Timbres are rendered faithfully. The rhythm and pace never feel discombobulated. Instruments and voices have a three-dimensional feel. If he's right then you definitely overspent for your three-dimensional feel. The sound of a wooden violin has a different texture than a brass trombone.

An oboe sounds " reedy" like compared to copper timpani with plastic heads.

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As Ive written earlier Ive gone up the ranks from the cheapest equipment to good stuff so I have a reference point of comparison. Like violins and bows Paul dont listen to the b. I guess in the same vein I wasted money buying my fancy French bows. I guess the dogs off the leash now It is nice. But is it more accurate or a consequence of more phase errors, noise or other effects? I find it hard to believe the former, due to the numerous physical, observable and measurable deficiencies in vinyl reproduction, which are not surprising - what's surprising is how good it sounds sometimes despite the problems of the medium.

And in the end, as music is a subjective experience, not an exercise of measurement, whatever wags your tail is good, and language to describe it will be inadequate. As a result some of the complexity and dynamic range of the original recordings has got lost in the 'digital' versions. Unless the LP gets played through a different speaker setup, that's probably the main positive difference in sound.

Of course LPs have the benefit that you can't play them through tinny mini speakers or mobile phones, which will also help And what's your calibration standard for the "correct" sound of an oboe surrounded by a piece orchestra? How do you know which cartridge makes the oboe sound most like an oboe should? That's the problem with these things -- and with the "sound" of violin bows too. Truly scientific tests are rare and admittedly they are difficult and expensive , and the alternative is new-age mumbo-jumbo.

And now your albums all sound better. And you're claiming bias had nothing to do with that? And what about "rhythm and pace. Is pace "obviously" the same thing as tempo? I thought you could only change that by changing the rotation speed of your turntable. You're saying a cartridge can do that? You asked whether I thought I could hear these subtle differences that you claim to hear.

Probably I won't be able to do that. My hearing is somewhat compromised. But my response here is not motivated by jealousy. Rather it is motivated by a duty to call out pseudoscience, antiscience, and just plain baloney when I see it. When I see someone describing their cartridge in language that just happens to match what appears in the manufacturer's sales literature, my BS-o-meter red-lines. Get good headphones and you'll start to really notice the differences between MP3s at different bitrates.

The CDs have a too-clean sound that makes her tone sound a bit glassy to me. The SACDs have much more warmth. The difference will be immediately obvious if you have reasonably decent listening equipment. I wasnt referring to any notes from Lyra or any other company. These terms are pretty standard for any stereo equipment such as soundstage , separation timbre etc. Great point about the oboe.

Thats when separation with a good cartridge is apparent. I only have my other previous cartridges to compare it to and friends with actually better equipment than me. Dotted rhythms are more articulated with this cartridge. Any good cartridge just extracts more information from the lp. Oh sorry!! Was that dealer b. Cant help myself Pace is defined as "the sense of rhythmic drive or propulsion in the reproduction of recorded music" The Complete Guide to High End Audio by Robert Hartley not the rpm of your turntable. A friend of mine described high end audio with an analogy of listening to music on your cars AM radio which can be highly enjoyable but you have to fill in details in your head that are missing as compared to a home stereo.

The better the equipment the less guesswork is required by the listener. Look out Lydia. Paul will call you out on your pseudoscience and. Audio equipments all the same and youre another sucker If you can clearly hear the differences between the violins, you're listening to a fairly decent set-up. If there aren't significant differences, thumbs down. These all basically sound the same. I could talk for hours about what scotches or beers to pair with which vinyl recordings curse you Hilary, for never releasing that Brahms VC on vinyl , as I'm sure members of this forum who have met me can attest to.

HOWEVER that doesn't mean that the conversions from masters, whether digital masters or analog were done correctly, especially as over the years where equipment has changed, or the provenance of the masters has changed hands. Dark Side of the Moon infamously has a multitude of vinyls out there all mastered differently, and therefore they all sound different.

If the recordings were converted differently, even on transparent acoustical formats, people will prefer one or the other. Kind of like tube vs SS amps, where SS amps are technically speaking more neutral on a general basis but most people prefer the sound of tubes.

When it comes to hi-fi speakers in a room, even though the attenuation in sound from air is different than just reducing gain, some people like bigger spaces, some like smaller. Technically speaking, even production vinyls have some level of acoustical compression from the phono stage due to the inverted RIAA curve that we've kinda of accepted is just straight gain but for sure electronics will introduce some deviation from the original here.

Paul Given your recent post about fine violin bows, this may fall on deaf ears, but cartridges can absolutely make a difference in sound quality. But if someone saying it makes things sound more "rhythmic" I can absolutely believe it. Low quality needles won't and this is a generalization won't have the same cut on the tips and stability of good cartridges.

So what does this mean in terms of "science" and "logic"? In analog terms, it can "rattle" against the groove, or not be able to track the grooves precisely. So your fast eighth notes in a passage, for example, may not sonically end where you feel they should due to errant vibrations, making it seem like the rhythm is not as tight even though the record is being played at the same speed. If we're nitpicking equipment, on turntables with bad motors, the vibration from the motor can also cause this.

On the really disastrous low-end, you can have needles and turntables! And to make matters worse, bad cartridges can actively damage the vinyl recording. Of course, hi-fi isn't without its drawbacks either. Vinyl is, at the end of the day, an imperfect material, so high precision playback equipment can reveal flaws that cheaper equipment won't, whether it's a flaw in the recording itself, or even a flaw in that particular vinyl.

I have some metal vinyls from bands before they "made it" and some of them are truly recorded poorly, but you wouldn't be able to tell on less-precise playback equipment. I just bought a set of Grado headphones I'm sure the cartridge matters. After all that's the thing with the moving parts!

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I understand that the needle has to track the groove accurately and respond quickly and all that. Speakers -- we can't escape those yet. But it's kind of funny that we invent increasingly sophisticated cartridges to "extract more information" reasonable language from a medium that amounts to scratches molded into a piece of plastic.

You do wonder how accurately that can be done, but I understand it's a pretty sophisticated technology. Yes, I know: Useful blind tests are very very hard to design and expensive to conduct. That doesn't mean they're inappropriate in principle. I'll bet if we went back to old issues of Stereo Review we'd find discussion of cables couched in the same kind of jargon -- "soundscapes" and so on.

We should at least agree that the credibility of the industry was badly damaged by that affair. I did a very quick Google search for blind tests of cartridges -- I'm sure there are a great many out there -- and what I found again, a very superficial look is that what listeners preferred does not scale all that well with price. What we need is a meta-study like they publish in medical journals.

I'm also not disputing how much y'all enjoy your hi-fi kits. I'm sure you get your money's worth of enjoyment out of them, even if you've at least partly deceived yourselves with bias. If a placebo makes you feel better, by all means, take it! Regarding "rhythm", a cartridge has to report back frequencies over Hz, right?

How do you blur out a dotted rhythm event that has temporal features that are more on the order of 10 Hz? I'm struggling to understand how that rhythm would be inaccurate as a consequence of an inferior cartridge. What's the rise time on Joshua Bell's martele? Thanks for the tip on the book by Hartley. Having a book on the subject does tend to lend credibility. He seems to understand the technical aspects better than my artsy fartsy explanations. Re: the double dotted clarity..

Just for fun Paul, check out the Lyra Atlas cartridge. Youll blow your stack when you see the price! Sadly, I probably fall more to the wax-cylinder end of the spectrum. A reasonable business model in such things is to simply offer the most costly model. Wasn't that Shure's marketing plan in the 70s? Lyndon, stop being such a troll. I never claimed to have the best and you know it. But my violin is not likely to ever hold me back from improving as a violinist. And my stereo isn't going to impede my critical listening.

I listen for the interplay of the melodic lines, the metamorphosis of the harmony, the overall structure of the composition, etc. I spend my listening bandwidth quite keenly on the musical content because I know it would be pointless, with my hearing, to spend it worrying about the fugacity of the soundspace or some such. I also listen for the violinist's technique. Now here's an area where the extra accuracy of a great cartridge might be useful because of the delicate bow-strokes and such.

But my approach is still different. I'm going to hear much more difference in articulation and other sylistic features between recordings of two different violinists than I am likely to hear if the same recording is played with this or that cartridge. Anyway I'm holding out for a cartridge with vacuum tubes. It'll sound warmer. You're welcome to be happy using cheap equipment, but when you start to insult people's intelligence for liking good violins and good stereo equipment, thats where you enter the troll territory, that and your incessant self promoting of crappy planetary pegs..

Hi-fi audio can reflect fine instruments in the sense that there are price bands of different components where a little cash can go a long way, and price bands where a lot of cash doesn't go very far at all until you overcome the next plateau. Although you may disagree, consider the example of a violin and bow.

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In a blind test, I would say it's probably harder to guess the more expensive violin vs the more expensive bow in this example, and I think many on this board will agree. As long as the stylus is from a good company and in good shape they do wear out after all, most vinyl-philes replace very hours or so , it's probably the least important part of the vinyl audio chain. I agree on your opinion that two different recordings will cause a larger difference in music. Audio source, IMO, trumps almost everything, although I personally think playback device matters more. This leads me to the answer to your 'rhythm' question.

The stylus I'm using right now is known to be less-high-resolution among mid-range styli, which makes the sound slightly "chunkier" than a higher-resolving one, but also lends a little extra warmth. Because it doesn't fully track the grooves as accurately, some sound can "linger", or notes can "bleed" together as a result of the stylus carrying over momentum from other grooves at least, this is how the physics causes the effects in theory. The result is a slightly fuller and warmer sound, and more forgiveness for crackles and pops, but it is actually lower-resolving, technically speaking, vs some truly high end ones.

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Again when it comes to styli, this is on the absolute bleeding edge. If you have a good stylus in good condition, that's fine. Everything else about your music is going to be the bigger difference maker. Personally, I doubt it, unless it was an ABX test on equipment I was very familiar with, and I almost certainly couldn't do it as a blind test. What does this have to do with rhythm? Crisper more "accurate" playback can sound cold and fast, with a lot of space between notes where perhaps your ear feels there shouldn't be vice versa this is true as well.

It can lead a recording to feel rushed because the acoustical effect translates to "not taking enough time on notes", or to put it another way, "this note sounds shorter than I would have liked". All of this consideration is also a reason why I like digital over analog vinyl. On Spotify the passage in particular is at about 3'20" in to the first movement with lots of arpeggios. Of course, Hilary Hahn has an absolutely inhuman right hand, so even recordings she takes very fast can still sound at tempo because of this. This is sort of what happens when styli don't perfectly "hug the grooves" of recordings and create thicker and longer-lasting sound.

The tempo may be the same, the record is spinning at the same pace after all, but the music can feel faster or slower because of this effect. Just like how playing at the same tempo a good violinist can really drive the music forward, or restrain it, simply through different tone production. I'm not sure if you're last point is made in jest or sarcasm, but in case it's not, cartridges don't contain tubes because cartridges don't amplify. A cartridge is a needle moving in a groove with a magnet on the other end.

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As the magnet moves through a coil, current is generated. This current is electronic sound. Vacuum-tube based amps do create different sonic signatures and they do so both qualitatively and quantitatively. There are reasons they went out of style, and there are reasons they are coming back in style. But you can by good SS-sound tube amps, and you can buy good tube-sound SS amps.

But that is a discussion for another time and another place. It's dangerous to underestimate the subtlety of human hearing but I'm sure Paul is correct that stylus mistracking as it's more normally called would have absolutely no detectable influence on tempo or rhythm, although it may appear to make time pass more slowly. In my experience mistracking is most noticeable when listening to operatic voices, and compounded when the groove is overmodulated as was frequently the case in earlier days.

Violins aren't nearly so badly affected unless the stylus is practically worn out or has a large ball of crud adhering. This creates a placebo effect of "warmth. An orange LED would probably suffice. I'm glad there are individuals, perhaps such as you, who can hear these small differences because I am handicapped in that way. All I want to do is draw a line between the kind of objectivity that would result from blind testing on the one hand, and online-forum chatter that amounts mostly to mutual affirmation liberally salted with poorly-defined jargon whose main purpose is to create an aura of sophistication and exclusivity.

Paychecks work in dollars, not multiples after all. Steve I am certainly butchering the terminology here, but basically speaking, the way a needle is cut and the design of the cantilever can cause this. Vinyls are cut with a v-shaped "knife" of sorts, but styli are actually kind of rounded balls at the bottom, so they do not perfectly track the groove. On the cantilever side, "imperfect" designs will not perfectly absorb the kinetic energy generated by the vibrations, resulting in some feedback to the needle which generates sound not "on" the record.

This effect is what I'm talking about, at least in theory, as a cause of these acoustical differences. For a more obvious example, consider a recording like Hilary Hahn's latest Bach, which has quite a lot of reverb. Reverb that is, at least in the venues I have experience with, a little "unnatural" and not a perfect reproduction of her violin. However, it does make the music sound better or at least, it made it sound better to her recording engineer.

On listening to it I was aware that something slightly odd was happening. On the second hearing I realised what it was: the pitch was a semitone sharp and the vibrato seemed too fast. I checked — no, my audio equipment wasn't playing up. I checked the timings and realised what had happened. The studio had speeded up the master so that those Beethoven quartets could be put on the LP without making a break in one of the movements or reducing the sound quality. Presumably the Prague Quartet didn't know about this at the time, and wouldn't have been able to do anything about it.

I still have that LP. I think I was 14 at the time. I had never heard of the orchestra, pianist or conductor listed on the sleeve, and the label was equally obscure — there was a good reason for this, as it turned out. The second side had a different acoustic, and the piano playing somehow sounded a little different. My Dad, who had played a few concertos in public before the War, thought it was two different pianists on that LP, possibly different orchestras and certainly different recording locations.

Unfortunately, I no longer have that LP. If a cartridge can faithfully report information from the LP grooves at frequencies exceeding 10 kHz events on a microsecond timescale , then I don't see how it can fail to faithfully report a rhythm comprising events e. That's what I meant when I asked about the envelope of a typical soloist's martele.

Lyndon, sorry but I'm in Lydia's camp. I use headphones when I want to be reasonably sure that I'm listening to what is actually in the data. I think we're talking past each other anyway. Let's say you buy a really shitty cartridge where fulcrum barely absorbs any vibrations from the stylus, causing it to freely vibrate even for only a little sound.

The point I've been trying to make is that, while the rhythm as far as beats per second is concerned stays the same, but the reproduction of the sound can make the music seem more rushed or more restrained. You should listen to the examples I explicitly stated in my comment.

You can even try this yourself. Record a passage, then crank up the reverb and play it back. Depending on your phrasing, this effect could make it seem either faster or slower.

Hard to say without hearing a sample, but in general I feel like reverb makes music feel slower, like the player is taking their time playing. As for the envelope of a soloists martele, it depends. How was it recorded? Was it in a venue or outdoors? What kind of venue and how big? There seems to be a problem serving the request at this time. Skip to main content. Filter 3. Sort: Best Match. Best Match. Gallery View. Guaranteed 3 day delivery. See similar items. Only 1 left! Sponsored Listings. Got one to sell? Shop by Category. Record Size see all. Not Specified.

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