Sorry to so quickly follow with yet another article about HDTT releases, but this is one you should hear about sooner rather than later…
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From a Command Classics, 1962, 4-track tape, here is a Bob Fine recording in glorious, full-throated, orchestral brilliance from one of the great American orchestras led by one of the most brilliant interpreters of Brahms.
The soundstage is remarkable for Fine’s signature immediacy, detail, and imaging specificity, just as in his Mercury Living Presence recordings. And, that irritating sharpness in the lower treble of his microphones is all too readily apparent, just as in all the Mercury recordings. It lives in the tapes, and HDTT, true to making honest transfers, does not mess with it.
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A nice reissue from HDTT. From a 4-track tape, this is another example of why sourcing from the master tape is not nearly as important as the care and setup applied by the engineer making the transfer. I show both the DXD and the DSD256 because this is not a Pure DSD256 release. As HDTT carefully points out, it was initially transferred in DSD256 but then edited in DXD with the final release made from that DXD edit master. Buy the DSD256 and you’ll also get the DXD. It will be a good opportunity to compare to see which sounds better on YOUR system, the DXD edit master or the DSD256 derived from it.
P.S., in my primary system the DXD sounds better. With one less conversion, the DXD edit master sounds cleaner, more open, more transparent. The DSD256 will likely sound better in my wife’s office system. Different DACs, different results.
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Oh, my yes. Titans of jazz in a great collaboration. Beautiful transfer from the original 1958 vinyl.
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Posting on @Rushton behalf
Six reviews of recent HDTT releases posted. Two are Redux editions that are seriously better than the earlier releases from a number of years ago.
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From the original Crown Records master tape, 1959, in a Pure DSD256 transfer by HDTT. This is a VERY different set of music than we hear in the soundtrack recordings. As HDTT describes, “Unlike Mancini’s official soundtrack album on RCA Victor, this is not simply a replay of the television cues—it is a reinterpretation, seen through the lens of the very musicians who had helped shape that original sound. Here the Peter Gunn themes take on new life: brass punches harder, saxophones smolder longer, and the rhythm section drives with a rawer, more club-ready urgency.”
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I tried this Peter Gunn recording and it is extraordinary! Only the muted horn on the right can be a little overbearing at times. The DSD256 version definitely sounds closer to real than the DXD version. On this one get the DSD256 version. The muted horn is more tolerable with the DSD256 version than the DXD version because the DSD256 version sounds purer. Other than that, this is a superb recording.
Agree. This is a Pure DSD256 transfer from the master tape, with no PCM post-processing step.
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HDTT just emailed me with a free update of Time Out because I bought the original release before. “The Dave Brubeck Quartect” (Pure DSD) - DSD256 is from a new source.
The new version sounds more like my 45rpm single sided vinyl. It is way more open with a large soundstage, more air, more presence, high extention, and much better bass energy, not even close!
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Agree, listening to it now.
In addition to the better source tape with more extended high frequency response, Bob made this transfer using his new tape head tube preamplifier designed by Victor Khomenko of Balanced Audio Technology. The improvement to an already excellent reissue is not subtle. If you’ve not previously purchased this reissue, the new version is what you will get. Bob has not tagged it as a Redux release.
Hint to the wise: absolutely get the Pure DSD256 release of this album.
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Bob Witrak has been busy these past few weeks. Here are some reviews posted today of what you’ve seen me listening to the past couple of weeks:
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PSA: HDTT has begun it’s Fall Sale of 25% Off the entire catalog. You’ll find links in posts above to reviews or look through my Pure DSD256 from Analog Tape: My Top of the Pile listing for suggestions.
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This ones got incredible resolution and presence. I am a big fan of Count Basie. The DXD version seems more detailed and clarity. The DSD256 has more bloom, but is not as vivid. I don’t know which I like more. It was Mastered in DSD256 and edited in DXD, then transfered to DSD256 again.
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For those who follow and appreciate the HDTT releases, here is a review of six albums posted today…
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PSA… For those who have been waiting for a sale at HDTT:
This sale has already been running for three days, so quick action may be prudent to catch it.
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Nice transfer from a 15ips tape. And the sound quality from the tape is what one would expect: just excellent. The sound is full, dynamic, unrestrained, the brass is brilliantly shaped, the percussion is crisp and articulate, the strings resonant—it is simply more alive than my rips of the Columbia Masterworks LP reissues. (I don’t have any of the Sony digital reissues to compare.)
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Hi Rushton, couple things: first, some bad news, my first disappointment from HDTT - Jamal at the Penthouse (1959). There was one review by someone who thought the sound was great, but I really beg to differ. Fortunately, I don’t think this was HDTT’s fault, but the original engineering, mainly terrible mixing. Weirdest string section recording I’ve ever heard - well maybe not the worst - but in places I found the violins recorded way too hot. Jamal was too far back and even a bit muffled. It just wasn’t a cohesive recording, I would be interested in your take on it.
As for the Black Friday sale, I got an email today that says they’ll take an additional 5% off for their “back catalog.” I’ve bought several of their back catalog recordings during previous sales, but I’m wondering whether there’s any reason these are discounted? At the time they were released were they using lesser technologies? Or is it just nothing more than moldy oldies?
Sorry to hear this, but not surprised by your reaction to this album. Jamal at the Penthouse is a live recording, and live recordings are always problematic and depend on how much access the recording engineers have to placing their microphones. At the Penthouse has challenges. On the other hand, Ahmad Jamal’s at the Alhambra Live is a much more successful live recording—it made my “Top of the Pile” listing (here).
I’ve not looked at which albums Bob has included in this “back catalog” sale. Almost all of Bob’s transfers are good, but there are some that he’s released more due to their historical significance than the ultimate sound quality of the original recording. My guess is that Bob has a number of older transfers (remember he’s been doing this for 20 years) that he may now have on his target list to update with a new transfer using his newer gear, all of which is much more transparent than his gear of 10 years ago. Still, I have many recordings that were released in the 2014-2016 range that are delightful. But every time he’s released a Redux, it has been a still better transfer. Sorry not to be able to offer more specific guidance on this in advance.
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Okay, I’ve now taken a quick look at the albums showing up on his Back Catalog link and the first page are all just terrific albums and transfers. I’d say any of them with more than six 5-Star ratings are likely to be quite good. Tell me what you’re considering and I’ll give you a quick go-no go reply based on my listening and tastes.
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Hi Rushton, Wow - you go the distance when it comes to help on this! I’ll list them below, but I’m pretty secure in going forward. To be honest, my selections are first based on the music itself - recordings I have heard (some) and am curious as to whether these transfers are better - sort of an excuse to own them rather than streaming and assume the original recording quality is worth the effort. I’ve found in many cases that these transfers are an improvement on previous issues. This is part of why I was disappointed in the Jamal recording - the first I’ve run into from HDTT that wasn’t first-rate to begin with. You’re right that live recordings can be risky - I know from experience, having done my share of live to 2-track recordings back in the 1980s. But I am surprised the label went with this one.
- Sonny Meets Hawk!
- Cal Tjader Quintet – Sona Libre
- Thelonious Monk - It’s Monk’s Time
- Cannonball and Coltrane
- The Modern Jazz Quartet - Pyramid
- In A Latin Bag - Cal Tjader and his Sextet
If when you were in that collection you saw something that really stood out as a phenomenal recording - jazz or classical - let me know.
Thanks!