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  • International Phonograph tapes.

    Dear friends, this is my first post. Just received Jason Roebke, Shimmering. A wonderful piece of music recorded at top level! Very highly recommended. Thank you Jonathan.

  • #2
    Thanks for your kind words on the Roebke, Shimmering tape. The whole reason I started selling tape copies was in the hopes it would make certain types of jazz better known --as the music would be carried along on the quality of the recording and the listener would be more prone to give it a chance and listen to jazz he or she might not have otherwise listened to.

    The Roebke fits that bill as it is different music. Chicago avant. And here is one of the world's best vibes players recorded with a custom stereo tube microphone, about as good as I've heard in a mic.

    So the Roebke is something I hope more people will hear and enjoy.
    JLH

    Comment


    • #3
      Originally posted by nexus51 View Post
      Dear friends, this is my first post. Just received Jason Roebke, Shimmering. A wonderful piece of music recorded at top level! Very highly recommended. Thank you Jonathan.
      One thing that stands out in my mind about the Roebke tape. Try making that into an LP and having a cartridge try and track that vibe. Good luck!
      Myles B. Astor, PhD, Administrator
      Senior Editor, Positive-Feedback.com
      ________________________________________

      -Zellaton Plural Evo speakers
      -Goldmund Telos 280 stereo amp
      -Goldmund Mimesis 37S Nextgen preamplifier
      -Doshi EVO and Goldmund PH3.8 phonostage
      -VPI Vanquish direct-drive turntable
      -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
      -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
      -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
      -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
      -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

      Comment


      • #4
        Just received from Jonathan a copy of his Jeremy Kahn Duets tape and a direct copy of the Marc Colby Quartet. The direct copy is copied right from the 8-track master tape while the normal release is a gen further removed. So this is as close to the master as you can get and few companies are doing this (Groove Note, Opus 3 come to mind). Others companies make the tape copy from a running master and the resultant tape is a gen further removed from the master. And as a recording engineer friend once said to me, generation is everything. So hopefully will be comparing the copies and report on it for PF!
        Myles B. Astor, PhD, Administrator
        Senior Editor, Positive-Feedback.com
        ________________________________________

        -Zellaton Plural Evo speakers
        -Goldmund Telos 280 stereo amp
        -Goldmund Mimesis 37S Nextgen preamplifier
        -Doshi EVO and Goldmund PH3.8 phonostage
        -VPI Vanquish direct-drive turntable
        -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
        -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
        -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
        -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
        -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

        Comment


        • #5
          Shimmering is jaw dropping great. If you have a deck just buy this tape.

          Comment


          • MylesBAstor
            MylesBAstor commented
            Editing a comment
            +100

          • nexus51
            nexus51 commented
            Editing a comment
            Absolutely!!

        • #6
          Quick first listening impressions of the Colby DM vs. the Colby normal regular release 15 ips tape. If you can spring for it and Jonathan happens to be doing a run of Direct Masters, these are the tapes to get! As good as the normal Colby is, the DM is in another league. More energy, vibrancy, extension and just much more music. The sax is just so much more lifelike; the piano is simply more detailed and nuanced. More to come.
          Myles B. Astor, PhD, Administrator
          Senior Editor, Positive-Feedback.com
          ________________________________________

          -Zellaton Plural Evo speakers
          -Goldmund Telos 280 stereo amp
          -Goldmund Mimesis 37S Nextgen preamplifier
          -Doshi EVO and Goldmund PH3.8 phonostage
          -VPI Vanquish direct-drive turntable
          -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
          -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
          -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
          -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
          -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

          Comment


          • #7
            Okay had the system properly warmed up and let the chips fall where they may.

            Same results, just a bigger difference tonight all pointing to the superiority of the Direct master copy. Jonathan doesn't run the Direct Master off very often but save you pennies up for say the Colby or Roebke tapes. They Direct masters are worth every penny! For those of us that don't have 1/2-inch heads or 30-ips capability, this is the next best thing! The Direct master is:

            1) quieter sounding
            2) possesses better frequency extremes
            3) more harmonic information
            4) greater solidity
            5) the pulse and musical rhythms are more apparent

            Of note is the low end that is simply better defined and more tuneful. At the other end of the spectrum, the cymbal work--especially during the piano solos--has to be heard to believed. You haven't heard anything like this on any LP or bettered by too many other tapes.
            Myles B. Astor, PhD, Administrator
            Senior Editor, Positive-Feedback.com
            ________________________________________

            -Zellaton Plural Evo speakers
            -Goldmund Telos 280 stereo amp
            -Goldmund Mimesis 37S Nextgen preamplifier
            -Doshi EVO and Goldmund PH3.8 phonostage
            -VPI Vanquish direct-drive turntable
            -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
            -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
            -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
            -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
            -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

            Comment


            • #8
              Ki-

              What is your experience with tape generation? You have as much experience as anyone.
              Myles B. Astor, PhD, Administrator
              Senior Editor, Positive-Feedback.com
              ________________________________________

              -Zellaton Plural Evo speakers
              -Goldmund Telos 280 stereo amp
              -Goldmund Mimesis 37S Nextgen preamplifier
              -Doshi EVO and Goldmund PH3.8 phonostage
              -VPI Vanquish direct-drive turntable
              -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
              -Lyra Atlas SL Lambda, Fuuga Mk. 2, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
              -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
              -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
              -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

              Comment


              • #9
                Myles, thanks for your observation of the Roebke tape. Just saw this. My experience with generations is that it is vital to have as few as possible. Many of the jazz releases I've done of former vinyl performances ran into the fact that by the time the original record company made the two track vinyl master tape (that would be used to cut the vinyl) it had lost any magic the original tape had. That is because the tape used to cut the vinyl was so many generations from the original and worse, the tape copies they made were not close to the tape they were copying due to poor transfer technique, machine quality, etc. In fact I prefer many of my jazz digital CD releases to the original vinyl of the same performance as by the time it had gotten to the vinyl, it had lost so much. This is not uncommon. My tape decks make very good copies but even so, any further away from the master than 2 generations and you're losing too much. Ideal is copy the master and use that. If you have good ears and a stellar system you'll hear the difference as Myles did. I never copy beyond 2 generations from the master, that is, master, production master (direct copy) and copy. Beyond that you lose too much. Most of the vinyl out there (other than the new stuff being done carefully and precisely) could be vastly improved by making a high quality tape copy, which is then directly used to make the vinyl.
                Last edited by jonathanhorwich; 06-16-2016, 04:22 PM.
                JLH

                Comment


                • #10
                  Jonathan,

                  Interesting observation on "poor transfer technique, machine quality..." As far as I can tell, most of the commercially available tapes in the market pre-Tape Project were less than ideal quality dubs, IMO.

                  Tapeheads are lucky now that we have folks like you and Bruce making close to 1:1 second generation real-time dubs with quality in mind.

                  Now we need access to more of the mainstream music on tapes and more artist and studios going back to recording their music on tapes!
                  Last edited by Ki Choi; 06-16-2016, 02:45 PM.

                  Comment


                  • #11
                    I want to second the postitive comments on Jonathan Horwich's (International Phonograph Inc) tapes. As many of you know, my main interest is classical. I have all three tapes that are in that genre from Jonathan's offerings. All were recorded by Jonathan, two back in 1980. One is a piano recital by Mark Zeltser, the second though not strictly classical is a wonderful recital by Ravi Shankar, and the third is a recent oboe recital. All three are definitely worth buying, especially if you get the direct copies of the original master.

                    Larry
                    Analog- VPIClassic3-3DArm,SoundsmithZephyrII+MiyajimaZeroMono, 2xAmpex ATR-102,Doshi3.0,Merrill Trident Master Tape Pre,Herron VTPH-2A
                    Dig Rip-Pyramix,IzotopeRX3Adv,Mykerinos,PacMicroModel2
                    Dig Play-mchNADAC, LampiPac, Roon, HQP, Oppo105
                    Electronics-Doshi Pre,CJ MET1mchPre, Cary2A3monoamps
                    Speakers-AvantgardeDuosLR,3SolosC,LR,RR
                    Other-2x512Engineer/Marutani Symmetrical Power, AudioDiskVinylCleaner,AirTightRecordFlat, Scott Rust Interconnects,
                    Music-15KRecs(90%classical),1.3KR2Rtapes,50TBrips

                    Comment


                    • #12
                      Originally posted by Ki Choi View Post
                      Jonathan,

                      Interesting observation on "poor transfer technique, machine quality..." As far as I can tell, most of the commercially available tapes in the market pre-Tape Project were less than ideal quality dubs, IMO.

                      Tapeheads are lucky now that we have folks like you and Bruce making close to 1:1 second generation real-time dubs with quality in mind.

                      Now we need access to more of the mainstream music on tapes and more artist and studios going back to recording their music on tapes!
                      Ki brings up a very important, but difficult issue about getting tapes from more mainstream artists and studios. Unfortunately it has been much more difficult in practice than in theory. FIrst, unless we are dealing with digitally mastered music, essentially all analogue recording by major labels ended in the 80's, when digital mastering really took off. Second, as Paul Stubblebine can attest (for the Tape Project) getting the actual master tapes and the rights to reproduce them involve complex negotiations with executives who generally have no idea what you are talking about. The mergers and consolidations of companies have not made the process easier. Further, many of the master tapes have been overused and have deteriorated. I was talking with WInston Ma about releasing some more of the great Decca recordings a few years ago. He told me that he wanted to release the great Argo recording of Noye's Fludde (a long time Absolute Sound SuperDisc). He arranged the rights (which typically do not just involve the company but also artist and composer royalties) and finally received the master tape from Germany. It was in totally unacceptable condition. IIRC, Paul Stubblebine tried to get the "sound quality" tweeked, but to no avail. Back it went and the project was abandoned.

                      Right now, what we have are many superb tapes from small companies (including Jonathan's) the vast majority of which have been recorded and produced by the company, which owns the rights and the tapes. So we don't get the mainstream artists and labels. The few exceptions are Tape Project (so far 28 releases, 6 classical), Horch House (which for classical has a total of 13 mainstream releases including three Star Wars albums - I have three of them , and Opus 3 (which have a pretty deep catalogue, but own all the tapes they have released).

                      I am hoping that Chad Kassem's projected release of R2R tapes will include some of the mainstream albums he has released on vinyl (like the great RCA Living Stereo classical series) and not just the albums that Chad has produced himself.

                      Larry

                      Analog- VPIClassic3-3DArm,SoundsmithZephyrII+MiyajimaZeroMono, 2xAmpex ATR-102,Doshi3.0,Merrill Trident Master Tape Pre,Herron VTPH-2A
                      Dig Rip-Pyramix,IzotopeRX3Adv,Mykerinos,PacMicroModel2
                      Dig Play-mchNADAC, LampiPac, Roon, HQP, Oppo105
                      Electronics-Doshi Pre,CJ MET1mchPre, Cary2A3monoamps
                      Speakers-AvantgardeDuosLR,3SolosC,LR,RR
                      Other-2x512Engineer/Marutani Symmetrical Power, AudioDiskVinylCleaner,AirTightRecordFlat, Scott Rust Interconnects,
                      Music-15KRecs(90%classical),1.3KR2Rtapes,50TBrips

                      Comment

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