LATEST ADDITIONS

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Michael Fremer Posted: Sep 01, 2010 1 comments

Stars from across the musical universe donated their time and considerable talents to perform with the Preservation Hall Jazz Band on this thoroughly entertaining and superbly recorded double LP set celebrating the Hall’s 50th anniversary.

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Michael Fremer Posted: Sep 01, 2010 1 comments

The Beatles Remasters: A Splendid Time Is Guaranteed For Most

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Michael Fremer Posted: Sep 01, 2010 2 comments

Equipped with John Mellencamp's then recently acquired vintage 1/4" reel-to-reel 1955 Ampex 601 mono tape recorder  and a pair of iconic 50's era RCA ribbon microphones ( a 77 DX and 44 used singly) presumably supplied by producer T-Bone Burnett, the duo, accompanied by Mellencamp's wife Elaine, who shot the album's cover photo, hit the road during a break in last summer's  Bob Dylan-John Mellencamp-Willie Nelson tour to record thirteen freshly penned songs Mr. Mellencamp had written over thirteen prolific days.

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Michael Fremer Posted: Sep 01, 2010 1 comments

The back story here is that in May of 1963, the Yardbirds’ first guitarist, “pimply” 15 year old Anthony “Top” Topham stepped on stage with the new group at the Eel Pie Island Club.

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Mark Schlack Posted: Sep 01, 2010 1 comments

It was 1965 and Junior Wells was no longer the precocious teenager who had gotten the likes of Muddy Waters, Elmore James and Otis Spann to back him up on his 1953 and 1954 hit singles. Now 30, he was a fixture of that generation of electric Chicago bluesmen. He toured, and worked regularly at Theresa’s on the South Side. And he was about to make an album that has long been a staple of any modern blues collection.

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Michael Fremer Posted: Sep 01, 2010 1 comments
When Buffalo Springfield broke up, Neil Young set about building his solo career. The high-production work with Jack Nitzsche that had created classics like “Expecting to Fly” and “Broken Arrow” brought Neil back to the producer/keyboardist/orchestrator, who gained fame working with Phil Spector but the results on Young’s eponymous debut album were not as memorable. In fact, many critics and fans alike back in 1969 considered the album a disappointment and a misstep. 
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Michael Fremer Posted: Sep 01, 2010 0 comments

Your head will spin dizzily with pleasure before you reach the end of the first chapter of "Canyon of Dreams," Harvey Kubernik’s lovingly told history of the unique Hollywood micro-climate known as Laurel Canyon. The supernovas and the dimly lit alike open up to L.A. native, record biz insider and scene maker Kubernik who transmits their stories with an immediacy that will make you feel more like an eavesdropper than a history buff.

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Daniel Crain Posted: Sep 01, 2010 0 comments
Bill Bruford: The Autobiography (Jawbone Press, Berkeley, CA 352 pages, www.jawbonepress.com) Progressive rock and jazz fans know Bill Bruford as one of the most influential, cerebral and greatest technical players of the last 40 years. Numerous drummers and percussionists working today cite his work as a drummer and electronic percussionist as an influence. And of course for 70’s-90’s rock fans, his name is synonymous with some of the most adventurous music ever to emerge from that era.
Michael Fremer Posted: Aug 20, 2010 7 comments
As long as you're spinning an LP for your listening pleasure, and if digitizing it at a resolution of 24-bit/192kHz is transparent to the analog source, why not record and store the LP on your computer at that high sampling rate for future convenient playback via iTunes or for iPod use, or for burning to CD-R? And, while you're at it, why not record the LP unequalized and apply the RIAA curve in the digital domain, where you're not dependent on capacitors and resistors that are imprecise to begin with, and can drift over time? With no drift of phase or value, the virtual filter's results should be better than with any analog filter. And in the digital domain, you can program in any curve known, and select it at the click of a mouse. Aside from the sweat equity invested in programming it in the first place, it wouldn't add a penny to the program's cost.
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Michael Fremer Posted: Aug 20, 2010 2 comments
The minuscule electrical output of an analog signal from a moving-coil cartridge needs to be boosted before it can be converted to digital and equalized in the digital domain. Of course, you could use your current phono preamplifier and record an equalized signal to hard disk, but then you wouldn't get to experience Pure Vinyl's digital RIAA correction—nor would you be able to avail yourself of all the equalization curves provide by Pure Vinyl, of which there are almost too many to count.

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