Metaxas & Sins solitaire, Manual

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master tape
concert recordings
If your concert recording equipment is “exceptional”, you are at least 90% towards
creating a great recording - it is then really up to the musicians.
It’s actually the same with Hi-End Audio. An exceptional system somehow actually
makes MORE recordings sound interesting and involving.
Because there is no equivalent to a Hi-End press in the professional recording world,
you are really on your own when it comes to assembling a “reference quality”
recording system. And there are only a few individuals who “Hi-End Audiophiles“
know who actually have some knowledge in this
fi eld. How can you tell if they are
good or not? Simple. Listen to their recordings.
The professional world doesn’t share the same vocabulary of “soundstage width
and depth”, “tonal neutrality” and “transparency”. In fact, most recording engineers
[and there are very few exceptions ] pick their microphones and equipment for the
“known” colorations they impart to the sound. And the “sound” they tend to go for in
general, has no depth of
fi eld as they are used to working in enclosed cubicles.
Acoustic music - Jazz and Classical, has been hardest hit. There are so many ver-
sions of Beethoven’s 5th [and most of the classic repertoire] recorded since the 50’s
that there is no market for more “versions”. New Jazz recordings su
 er the same
“re-issue” fate. Why would you want to buy a modern recorded version of Miles
Davis’ compositions and arrangements when you can purchase an exceptional
1950’s/1960’s re-issue of Miles Davis in 100, 200, 400gm vinyl?
Georges Quellet & Kostas Metaxas 1986