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in case anyone didn’t see, this is from Jonathan. Personally I ordered the Reggie Thomas Trio Tape!
Dear All,
I have a new release of two performances which are completely different but which I think you’ll enjoy. Very exciting.
1. The Reggie Thomas Trio — I recorded this a few weeks ago. Pictures of the session are below with my earlier info on microphones, etc. This is now available for purchase as a direct copy and if bought during this initial sale it is $150.00. I will take all orders first and then run copies off the actual master. The music is very straight ahead gorgeous jazz. There is a piano/drum exchange at the end of the first tune that is stunning musically and sonically. Very natural drum sound. All of the tunes are very easy to listen to and I think you’ll love the sound. Just simple piano trio jazz. You can’t go wrong for $150.00 for a direct copy.
2. The next is a digital master of the highest quality, "Be Still" by Dave Douglas. Trumpeter Dave Douglas needs no introduction. See below for video sample of one of the songs. I will continue to make great digital masters available where I can. I find them wonderful in a different way to analog.
Well read this: https://www.stereophile.com/content/...las-ibe-stilli
I have the master digital file and will copy it to tape for those who want it. Cost for the Douglas is $200.00
And here is a video of one of the tunes with voice: https://www.youtube.com/watch?v=ocAaZ2aMrNo
You can buy both tapes or one or the other. Or neither. No pressure. However, I think you’ll enjoy both very much. And it helps this project keep going.
Please email me directly to order, not through the website. And I will hold on the shelf any order paid for but for shipping in the future.
Shipping/Paypal: U.S. = $25.00. Shipping Paypal Europe = $70.00. Shipping/Paypal Asia = $100.00.
Thank you all for your support.
Jonathan
-------------------------------------------
Jonathan Horwich
International Phonograph, Inc.
727 S. Dearborn St. Unit 1011
Chicago, IL 60605
Phone: 773-892-6470
Email: jonathanhorwich@me.com
Website: Internationalphonographinc.com
================================================== ================================================== ====================
REGGIES THOMAS TRIO:
Dear All,
Below I give some technical information about a recoding I did today (well now yesterday). Please feel free to ask any questions.
I just finished recording a fine jazz trio here in Chicago with serious musicians. I will release it in the next few weeks or so if all good once I listen to it and put the songs in order for the tapes. Below are some pictures of the session which give you insight into some of the decisions to be made in micing an instrument and putting baffles around it to isolate it.
For instance, below, I explain cardioid microphones versus omni-directional microphones. Example: Most if not all of the famous Blue Note sessions are done with cardioid microphones — those microphones that record mainly the sound right in front of the microphone and reject most other ambient sound. If you listen to some of the Blue Note sessions with that in mind you’ll see each instrument is clear (usually) but you do not get a sense of the surrounding space of the instrument or the room it was recorded in. Hence, reverb is employed to create a sense of space and expanse rather than using microphones (such as omni directional microphones) that also capture the sound of the original space of the venue where the recording took place. The problem with omni- directional microphones is they not only pick up the spacial clues of the venue, but also the other instruments playing in the space. Hence you get bleed from other instruments in the room into the instrument the mic is recording, causing aural confusion and lack of clarity. Therefore, most engineers use cardioid microphones closely placed to the instrument (to avoid picking up other instruments in the room) and use reverb to create a sense of space — but one would never think THAT space is the original space in which the instruments were recorded. The record company, ECM is also a good example of this. No one would ever think they are hearing the sound of the original recording venue in an ECM recording. It is a created sound and space. This is not said as a criticism at all. But as a description of creative/technical choices.
Creating a recording which captures each instrument and the sound of the room the instruments are in, and still maintain clarity and focus of individual instruments is very difficult to do — extremely difficult to do.
I have a new release of two performances which are completely different but which I think you’ll enjoy. Very exciting.
1. The Reggie Thomas Trio — I recorded this a few weeks ago. Pictures of the session are below with my earlier info on microphones, etc. This is now available for purchase as a direct copy and if bought during this initial sale it is $150.00. I will take all orders first and then run copies off the actual master. The music is very straight ahead gorgeous jazz. There is a piano/drum exchange at the end of the first tune that is stunning musically and sonically. Very natural drum sound. All of the tunes are very easy to listen to and I think you’ll love the sound. Just simple piano trio jazz. You can’t go wrong for $150.00 for a direct copy.
2. The next is a digital master of the highest quality, "Be Still" by Dave Douglas. Trumpeter Dave Douglas needs no introduction. See below for video sample of one of the songs. I will continue to make great digital masters available where I can. I find them wonderful in a different way to analog.
Well read this: https://www.stereophile.com/content/...las-ibe-stilli
I have the master digital file and will copy it to tape for those who want it. Cost for the Douglas is $200.00
And here is a video of one of the tunes with voice: https://www.youtube.com/watch?v=ocAaZ2aMrNo
You can buy both tapes or one or the other. Or neither. No pressure. However, I think you’ll enjoy both very much. And it helps this project keep going.
Please email me directly to order, not through the website. And I will hold on the shelf any order paid for but for shipping in the future.
Shipping/Paypal: U.S. = $25.00. Shipping Paypal Europe = $70.00. Shipping/Paypal Asia = $100.00.
Thank you all for your support.
Jonathan
-------------------------------------------
Jonathan Horwich
International Phonograph, Inc.
727 S. Dearborn St. Unit 1011
Chicago, IL 60605
Phone: 773-892-6470
Email: jonathanhorwich@me.com
Website: Internationalphonographinc.com
================================================== ================================================== ====================
REGGIES THOMAS TRIO:
Dear All,
Below I give some technical information about a recoding I did today (well now yesterday). Please feel free to ask any questions.
I just finished recording a fine jazz trio here in Chicago with serious musicians. I will release it in the next few weeks or so if all good once I listen to it and put the songs in order for the tapes. Below are some pictures of the session which give you insight into some of the decisions to be made in micing an instrument and putting baffles around it to isolate it.
For instance, below, I explain cardioid microphones versus omni-directional microphones. Example: Most if not all of the famous Blue Note sessions are done with cardioid microphones — those microphones that record mainly the sound right in front of the microphone and reject most other ambient sound. If you listen to some of the Blue Note sessions with that in mind you’ll see each instrument is clear (usually) but you do not get a sense of the surrounding space of the instrument or the room it was recorded in. Hence, reverb is employed to create a sense of space and expanse rather than using microphones (such as omni directional microphones) that also capture the sound of the original space of the venue where the recording took place. The problem with omni- directional microphones is they not only pick up the spacial clues of the venue, but also the other instruments playing in the space. Hence you get bleed from other instruments in the room into the instrument the mic is recording, causing aural confusion and lack of clarity. Therefore, most engineers use cardioid microphones closely placed to the instrument (to avoid picking up other instruments in the room) and use reverb to create a sense of space — but one would never think THAT space is the original space in which the instruments were recorded. The record company, ECM is also a good example of this. No one would ever think they are hearing the sound of the original recording venue in an ECM recording. It is a created sound and space. This is not said as a criticism at all. But as a description of creative/technical choices.
Creating a recording which captures each instrument and the sound of the room the instruments are in, and still maintain clarity and focus of individual instruments is very difficult to do — extremely difficult to do.
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