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The Sound of the new February 11 2017 UltraAnalogue Narita & Yun-Yang-Lee Recordings

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  • The Sound of the new February 11 2017 UltraAnalogue Narita & Yun-Yang-Lee Recordings

    Dr. Pong again was kind enough to send me some new cuts since the update to the recording chain. He has made some tweaks along with now using two of the famous WE300b Tube.
    How would I classify the new sound? Remember years ago when you went to the movies and waited to see the special effects. Stephen Spielberg said we will have reached nirvana when your forget about the production chain and all of the effects become invisible. That is when the trade has accomplished the goal.
    With the latest changes to Ed Pongs recording the recording chain is now just not there anymore. Invisible and not heard. No need to comment on this or that because it just does the music as it sounds in person. No more and no less. No harshness and no overly romantic artifacts but just real. Just like some top rated amplifiers have gone invisible with just gain by reviewers, the same has happened here. No solid state sound anywhere to be found but no sloppy overly tube sound to be found. This is the greatest compliment anyone can give an audio product. I listened to Beethoven Violin Sonata Number 3,5,8 along with Tatsuki again playing Meditation and Sarasota Zapateado. I think a recording made on a standard studio Studer would have trouble being compared to this now. Tony Ma worked his magic with silver in the recording stages just like Kondo and Audio Note UK use silver for a magical sound. Did I forget to say that Tatsuki Narita, the violinist in the recordings is a rising super star that will surpass the greats like Heifetz while connecting with a younger audience.

  • #2
    I was going to post a new thread but figured someone might have already posted about this and found this thread started a few months I guess a +1 is in order Earl.....

    i am listening to this new release from Edward Pong and the sound is remarkable.

    a few years back I purchased 7 small scale classical tapes from Edward and have truly enjoyed them. they were live recordings and they had 'life' and 'flow and were direct and intimate if not the last word in imaging. but with a very live feeling and I've visited them again and again over the years.....when in the mood for that feeling.....I call my Sunday morning feeling.

    this one is "Tatsuki Narita & Yun-Yang Lee" on Beethoven Sonata #3, and Sarasate Zigeunerweisen. these are two live recordings in front of an audience......which personally I prefer for it's little bit more emotive content and deeper flow of energy. this one pulses and breathes.

    I'm no expert on classical performance, so take my opinion with a large grain of salt, but I really enjoyed this recording and expect to play it often.

    and what Edward is now doing is a few steps closer to an ultimate sound. he has captured a more vivid direct sound of a piano and violin that is astonishing.

    he has stepped up his recording gear with "..... vintage NOS WE300b (1956 - square getter) in the microphone pre- amp, battery supply to the record & playback tube electronics for the Studer..." and whatever other tricks and I'm hearing such realism and complete direct unveiled energy and life. the delicacy and touch of the piano and the tone of the violin are maybe a new standard for me to have in my mind. sweet and sparkle along with flow and energy. this is how a piano should sound. super low noise and wonderful ambience.

    the tone just jumps out of the music and my system and room just disappear. the big rig has never sounded sweeter! I think Edward's recording technique has advanced since the earliest recordings.

    Bravo Edward! and thank you.

    oh and BTW, there are Youtube recordings of both of these concerts....