Jazz

Dtknuckles said:
When ever is see interviews with him, I always think back…Wait this guy is responsible for the guitar parts in Naked City 😂
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I have been a massive fan of his and John Scofield's for years, and I just YESTERDAY learned that they did a whole record together (Sco's "Grace Under Pressure") that wasn't one of Mark Johnson's Bass Desires releases.

I can't wait for a copy of it to arrive. Wish it was vinyl available, but I will take what I can get. They both destroy it on the album in the most beautiful, complimentary way possible for their very, very different styles.
 
MadLucas said:
I have been a massive fan of his and John Scofield's for years, and I just YESTERDAY learned that they did a whole record together (Sco's "Grace Under Pressure") that wasn't one of Mark Johnson's Bass Desires releases.

I can't wait for a copy of it to arrive. Wish it was vinyl available, but I will take what I can get. They both destroy it on the album in the most beautiful, complimentary way possible for their very, very different styles.
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The 90’s downtown scene was amazing. So many great musicians just doing what they wanted to do.
 
Does anyone have any experience w/ the reissues by Jazz Workshop? Seems like a legit label and there are some positive comments on Discogs. I’m looking at Mal Waldron “The Quest,” which has two “sounds great to me” reviews.

I know they’re going to be digitally sourced, and I’m not expecting audiophile reissue quality, but that’s not a requirement for me. For example, I’ve been happy w/ the couple Music on Vinyl reissues I have (most recently, Monk Straight, No Chaser), and MOV is not AAA or grouped w/ the usual-suspect audiophile labels.
 
Is there any advantage to having a “digitally sourced” LP versus the CD? I’ve not done any shootouts, but the only superficial advantage I can see is if you have a turntable but no decent CD player…
 
JohnnyCashFan said:
Cross Posted
Norah Jones - Come Away With Me 20th Anniversary Editions. 4/29/22.
$28 list single Lp, very expensive Super Deluxe version $180 list.

Anyone read any mastering/cutting info ?

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Little more info coming out now on the Norah Jones - Come Away With Me 20th Anniversary Reissue coming out.

Ted Jensen is listed as the mastering engineer for this reissue.
"New remastering of the eight-time Grammy®-winning album by Ted Jensen from Sterling Sound, engineer on the original album."
Source: Come Away With Me - 20th Anniversary (LP) by Norah Jones | The Sound of Vinyl AU

Jensen is said to master only in digital now, but his mixes are well respected. And if Ryan K Smith @ Sterling does the cutting to vinyl we could still be in for a good record, but might have to wait and see where this one stacks up.
 
Lee Newman said:
Depends on the mastering.
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Angsty said:
Is there any advantage to having a “digitally sourced” LP versus the CD? I’ve not done any shootouts, but the only superficial advantage I can see is if you have a turntable but no decent CD player…
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Most of the DMM Blue Notes and similiar from the late 80's/90's are bright and thin sounding in my experience. They were meant to help vinyl stay alive when cd's came out.
 
JohnnyCashFan said:
Most of the DMM Blue Notes and similiar from the late 80's/90's are bright and thin sounding in my experience. They were meant to help vinyl stay alive when cd's came out.
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I'm not seeing an advantage of "digital sourcing" here! Colloquially, I'm thinking that "digital sourcing" in this usage means sourcing the LP master disc from a CD versus from a digital master tape. Either source could be used with a direct metal mastering (DMM) method, but I'd think a digital master tape would be superior to the CD. Perhaps the difference is narrowed using a SACD as a source.

Alternatively, DMM can be done with an analog master tape as the process was invented before widespread commercial digital recording.
 
Angsty said:
Is there any advantage to having a “digitally sourced” LP versus the CD? I’ve not done any shootouts, but the only superficial advantage I can see is if you have a turntable but no decent CD player…
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Yes. Hugely.

First, virtually all heavily compressed CD's sound better on vinyl simply because the cutting engineer must use the uncompressed master file. That is a massive advantage.

Second, vinyl, even if digitally sourced, just sounds better. Even the best digital filters are not as good as the simple analog vinyl signal. So getting that filter out of the way is a big advantage.

Third, CD is 16/44 limited. Vinyl sourced from digital will virtually always use a higher resolution file. It could be a 24/48 file (new recordings typically) or a 24/192 transfer from analog. Higher resolution digitally sourced vinyl is better than lo-res CD.

By the way, do you really do shootouts? I do comparisons, but don't get militaristic about it and go shooting anything!;)
 
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Angsty said:
I'm not seeing an advantage of "digital sourcing" here! Colloquially, I'm thinking that "digital sourcing" in this usage means sourcing the LP master disc from a CD versus from a digital master tape. Either source could be used with a direct metal mastering (DMM) method, but I'd think a digital master tape would be superior to the CD. Perhaps the difference is narrowed using a SACD as a source.

Alternatively, DMM can be done with an analog master tape as the process was invented before widespread commercial digital recording.
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Only bootleg and labels that issue unofficial out of copyright vinyl use a CD to transfer.

No legit label uses a CD to master to vinyl. They use only a digital file, at whatever resolution the originating label sends. In 2022, it is unimaginable to think that any mastering studio has a CD player hooked up to their mastering console. They don't, the digital file resides in the mastering suite hard drive, and is mastered from there. As well, no one uses SACD as a source. Again, why bother? Outside the classical realm, SACD is a failed format, and even in that world, only survives as hybrid discs to supply the installed SACD base. You could perhaps use a DSD file, but doing so for vinyl would be fairly rare, as no one aside from some minor audiophile labels records to DSD. Sony in Japan still uses DSD for some vinyl mastering, but only high bit rate DSD which far exceeds the resolution of a SACD player.

DMM can be done from analog tape or from digital. It is still widely used - MOV and GZ and two examples. Actually, DMM was developed for vinyl production at the beginning of the digital era, and many of the first DMM titles were digital, from labels like BIS, Chados, Teldec and others.
 
RHANDMJ said:
Only bootleg and labels that issue unofficial out of copyright vinyl use a CD to transfer.

No legit label uses a CD to master to vinyl. They use only a digital file, at whatever resolution the originating label sends. In 2022, it is unimaginable to think that any mastering studio has a CD player hooked up to their mastering console. They don't, the digital file resides in the mastering suite hard drive, and is mastered from there. As well, no one uses SACD as a source. Again, why bother? Outside the classical realm, SACD is a failed format, and even in that world, only survives as hybrid discs to supply the installed SACD base. You could perhaps use a DSD file, but doing so for vinyl would be fairly rare, as no one aside from some minor audiophile labels records to DSD. Sony in Japan still uses DSD for some vinyl mastering, but only high bit rate DSD which far exceeds the resolution of a SACD player.

DMM can be done from analog tape or from digital. It is still widely used - MOV and GZ and two examples. Actually, DMM was developed for vinyl production at the beginning of the digital era, and many of the first DMM titles were digital, from labels like BIS, Chados, Teldec and others.
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Just read the Rush Moving Pictures 40th Anniversary Lp's are DMM.
 
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