going to get these dsd 256 soon, most for the 2 tracks i use to listen most of kind of blue (tracks all blues and flamenco sketches);
ps. how do you get the files? is it in 2 folders, one with the corrected speed and other with the pure dsd? how do you know which one is which?
According to their website, tracks 6, 7, 8 have been speed corrected, with tracks 1 to 5 in pure DSD
Yes, as @adifferentpaul says, the metadata will show these as tracks 6, 7 and 8. Mine came in a separate folder labeled âspeed corrected tracksâ. And the name of each track includes â(speed corrected)â:
great
~
thank you
I got the 45rpm on my turntable and wow! The clarity and resolution are amazing. Certainly more than the 33.
I canât say whether all of it is because of the 45 vs 33 or because Iâm using a better phono stage than what I had when I played the 33.
Iâll take it either way.
So in addition to my âPickwickâ CD (bought from a petrol station for a fiver thank you very much), I now have another âcheesyâ release:
The 2010s Dâagostini Magazine series 180g vinyl version, new and sealed for fifteen quid 
It sounds quite good, and is a nicely presented piece of heavy plastic, canât be badâŚ
https://www.discogs.com/release/8011801-Miles-Davis-Kind-Of-Blue
Itâs been some time since this thread was opened. I highly recommend reading jeanfrancoisswâs mega review that compares 30+ different versions of this album, complete with measurements including the UHQR release, the SACDs, HDTT DSD 256, Dolby Atmos + Sony 360RA releases, and more. Sadly, the original Japan 35DP 62 CD is not in the list, this one is my favorite CD release.
just a thought, after much searching of this and other threads:
does anyone actually have preferences over speed-corrected or not corrected versions?
I donât. For folks with perfect pitch (rare) the non-speed corrected is a problem and drives them up a wall. I am not blessed with the curse of perfect pitch, so I can comfortably listen to the non-speed corrected. However, if youâve only listened to the speed corrected version for years and years, the non-speed corrected will likely sound very strange to you. At least, so some tell me.
Is the trumpet extra shrill in the speed-corrected or non speed-corrected (or shrill in both)?
No material difference. The speed difference amounts to a only very small pitch change (about 1/2 tone sharp in the original as released on LP at that time). Noticeable, but not troublesome, imo.
I have not listened to the original, non-corrected version in many years, and have no desire to.
As I remember, my downloaded version is the corrected version, and his trumpet is nasty shrill.
Then the âshrillâ you recall is not due to the speed correction. The original tape machine was running just a bit slow when the recording of side 1 was made. Those tracks, when played at the correct speed as the original LP was cut, were then 1/2 tone sharp (bright). The speed correction reduces the treble slightly.
No me neither, just very tight relative pitch (rusty now I expect), I have seen a few comments online relating to the tempo difference though.
What was interesting was playing two samples of the same track at the two different speeds - it may only be 1-and-a-bit percent but it very quickly goes (comically) out of sync (Steve Reich would be proud)
Miles Davis used a Harmon mute for much of the album. This produces a shrill, metallic, tinny sound many find objectionable.
Right. And I for one am glad all the instruments are quite (imo) accurately presented on this classic album.
All of the modern audiophile versions are using Mark Wilderâs remix as their base. The Japanese add their special sauce to the Japanese editions, but itâs still the Wilder remix. Mofi is also Wilder remix with the Mofi sauce. Iâm still amazed at what Wilder did for Miles, Monk, Mingus, etc.
On KOB, Wilder seems to have tamed the shrillness.
It is my understanding that the recording issues with the master also resulted in some shrillness .* Itâs a shame because there are couple of cringe worthy moments during my favorite song, âSo Whatâ.
*For those that might not be familiar with the issues (as per some Chrome âAI Modeâ research):
Incorrect speed: During the March 2, 1959, session, one of the three-track tape machines ran slightly slow. As a result, the first three tracks of the album (âSo What,â âFreddie Freeloader,â and âBlue in Greenâ) played back slightly faster and about a quarter-tone sharp. This was the version used for original stereo pressings and reissues until the problem was discovered in 1992 by mastering engineer Mark Wilder.
Microphone distortion: On the track âAll Blues,â there is audible microphone distortion on some of the instruments, particularly the saxophones. Some have mistakenly attributed this to the sound of âspitâ from the saxophones, but it is actually clipping from over-saturated microphone levels. According to audio experts, itâs possible this could have been corrected by going back to the individual three-channel masters, but it was left on the original album.
