<div dir="ltr"><div>I find it incredible pleasing that Sony has decided to produce this new edition. First of all I hope that there will be a significant improvement in sound quality. Not that I personally have much to complain about in that respect with the current issues, but if engineers can use modern sound technique to improve it by working directly from the master-tapes that would be wonderful. I am leaving aside the discussion regarding what a better sound really is, since that is mainly up to each ones individual taste, how much noise-reduction should be used, etc. </div><div>I hope there will be some hi-quality samples to download from Sonys site or elsewhere for everyone to judge themselves about the sound quality.</div><div>I thought that the DSD-technique was only used for SACD-production, but this new release will be on regular CDs, or am I wrong? </div><div><br></div><div>Secondly, the fact that Sony deems it economically viable to produce this edition means that there must be a large new public still interested in Gould and his recordings and that in itself is nice to know. </div><div>For people who recently have become seriously interested in the recordings of Gould, this must be the one edition to buy. Perhaps the younger generation will be content with, or even prefer, to have access to the streamed music. Much has been said (not on this forum as far as I remember) about the demise of CD-records, but new comprehensive editions like this one, Karajan 60s, 70s.. Perahia 40 years etc, continue to be released, so the record companies must still make money from them. Apparently many people, myself included, still value the item.</div><div>But to people like myself who already bought all the recordings from previous releases, I guess weather buying the new edition or not will come down to not only the question about improved sound, but also what the 416-page book that comes with it will offer. The introduction by Kevin Bazzana and rare photos that are mentioned on the Amazon UK site are factors that make this new release very interesting and tempting to me at least.</div><div><br></div><div>One would hope there will be some bonus material added. But unfortunately as far as I can see there are none. Probably it's more complicated than I imagine, but I would love to see some outtakes from any recording session included. The New Listener CD-ROM, if anyone remembers that, came with a couple of different takes from the a-minor fugue from WTC I, so to me it does not seem totally unrealistic to see a couple of outtakes also with a comprehensive edition like the one now planned by Sony. </div><div><br></div><div>The pricing of the USB version seems strange to me. Would anybody pay significantly more for an issue on USB only? Does anybody know on what format the music will be on the USB-version? And if the book then will be included only as a pdf-version?</div><div><br></div><div>regards,</div><div>Kristian</div><div><br></div><div class="gmail_extra"><br><div class="gmail_quote">On Wed, May 13, 2015 at 12:12 AM, Jörgen Lundmark <span dir="ltr"><<a href="mailto:jorgen.lundmark@mypost.se" target="_blank">jorgen.lundmark@mypost.se</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div bgcolor="#FFFFFF" text="#000000">
<div>Very interesting comments on sound
quality, Robert. Something Gould himself no doubt thought a lot
about.<br>
<br>
I have to say though that your own example of Caruso makes the
idea of sound-improvement valid. If you compare the original 78s
with the very best (most sensitively made) digital remasterings
I'd be very surprised if most listeners wouldn't agree upon the
superiority of the latter. I wouldn't say it's a question of
trying to achieve something that was not there in the first place.
It's not a question of making perfect, but making the original
shine the best it possibly can. And since we are dealing with
technologies that has been improving over the years -- you can
show that say the best modern microphone is better equipped to
register sound than the equivalent produced 50 years ago for
example -- this is not a question of wishful thinking.<br>
<br>
Now, this is not the same as saying that every new edition is
better than the previous one. In popular music you have the stupid
idea of increasing the mean volume by reducing the dynamics; in
classical music too many releases of historical recordings sound
lifeless because the background noise has been too severely cut.
It's a question of sensitivity and knowledge by the person making
the remastering. There are many excellent examples of contemporary
remasterings that do sound better than previous editions:
"Horowitz at Carnegie Hall", Karajan's 1960s Beethoven edition and
his Mahler 5th to name three examples. And of course there are
several other examples that is actually less impressive.<br>
<br>
The very idea of improving something digitally is I would say is
very much in Gould's spirit. Changing the original -- ignoring the
"sacred" original -- was something he approved of. Since I prefer
Gould to stay Gouldian I wouldn't want producers to go that far.
But if they can manage to bring me closer to the original masters
I would be very happy. What that constitutes is of course open to
debate. Sound quality is sometimes a tricky area to agree upon.<br>
<br>
Regards,<br>
Jorgen<br>
</div><div><div class="h5">
<blockquote type="cite">
<div><font face="Arial" size="2"><font face="Courier New" size="3">This
brings us back to a persistent theme in GG's art and
pychology: perfectionism. His retreat from the concert </font><font face="Courier New" size="3">stage and advance into the
studio, with its technical wizardry, were his declaration of
making </font><font face="Courier New" size="3">perfectionism
a central virtue of what he wanted to achieve.</font></font></div>
<font face="Arial" size="2">
<div> </div>
<div><font face="Courier New" size="3">I've grumbled before that
IMHO, sterility is the unavoidable handmaiden of
perfectionism. To achieve </font><font face="Courier New" size="3">the perfect requires the loss of spontaneity, risk,
daring, thrill -- like crossing Niagara on a </font><font face="Courier New" size="3">guaranteed solid bridge with
sturdy handrails rather than a tightrope.</font></div>
<div> </div>
<div><font face="Courier New" size="3">So 33 years after he
died, many of us still long and dream for an even more
perfect edition of his </font><font face="Courier New" size="3">keyboard work.</font></div>
<div> </div>
<div><font face="Courier New" size="3">Although they, too, were
ear art produced by the same brain/spirit and the same
fingers, it's </font><font face="Courier New" size="3">interesting
that nobody ever asks for audio-improved "more perfect"
re-masterings of the radio </font><font face="Courier New" size="3">documentaries. It's facile to say, "Well, one was
keyboard music, the other was dialogue montage."</font></div>
<div> </div>
<div><font face="Courier New" size="3">One of my thrills in
recorded music is early capturings of great talents. I have
two editions of the </font><font face="Courier New" size="3">first RCA Caruso sessions, both in 33 1/3 LP vinyl.
The first was RCA/Camden (NJ)'s "standard" </font><font face="Courier New" size="3">lavishing of state-of-the-art
analog technology. </font></div>
<div> </div>
<div><font face="Courier New" size="3">(Caruso "made" RCA's
phonograph; before his voice came out of the sound horn, the
public had only mild </font><font face="Courier New" size="3">curiosity about this new arcade gimmick. I think
RCA paid the unknown Italian $25 to sing about 12 </font><font face="Courier New" size="3">songs.)</font></div>
<div> </div>
<div><font face="Courier New" size="3">The second, issued soon
after, was the Stockham Soundstream version -- the first
digital remastering of </font><font face="Courier New" size="3">any music, the pioneering effort of the technology
that soon nearly completely took over the </font><font face="Courier New" size="3">recorded music industry, and
nearly extincted the vinyl analog system. D</font><font face="Courier New" size="3">igitizing Caruso produced no
miracles by itself. But Thomas Stockham had analyzed the
Caruso </font><font face="Courier New" size="3">recordings
and concluded that much or most of the squawk and noise and
hiss weren't due to old age or 80 </font><font face="Courier New" size="3">years of dust in the cylinder
grooves, but due to the acoustic characteristics of
"shouting" and </font><font face="Courier New" size="3">pointing
accompanying instruments into the giant sound collection
horn in the era before </font><font face="Courier New" size="3">electric/electronic microphones. (The horn
mechanically wiggled the groove-cutting needle.)</font></div>
<div> </div>
<div><font face="Courier New" size="3">This collection-horn
trouble could be identified and filtered out mathematically
by computer. The </font><font face="Courier New" size="3">result
"jumped" Caruso several decades toward the era of sensitive
electric/electronic microphones -- </font><font face="Courier New" size="3">from Caruso's recording tech to
Billie Holiday's electric/electronic microphone tech.</font></div>
<div> </div>
<div><font face="Courier New" size="3">Suddenly modern ears can
hear what all the gossip and buzz about Enrico Caruso was
all about. It </font><font face="Courier New" size="3">ain't
perfect -- still lots of crude squawk and hiss and noise --
but Stockham had rescued the lost spirit, the </font><font face="Courier New" size="3">emotion, the concert thrill of
Caruso circa 1903.</font></div>
<div> </div>
<div><font face="Courier New" size="3">The whole issue of what
makes a perfect or an aesthetically valuable recording, or
what truly best </font><font face="Courier New" size="3">represents
a performing artist, is very under-discussed and
under-thought-out. Some treasures </font><font face="Courier New" size="3">are not rendered "better" by
applying new popophonic dysenstereo 36-bit 12-channel audio
techno. Their </font><font face="Courier New" size="3">value
or treasure had been there from the first, courtesy of the
performers themselves.</font></div>
<div> </div>
<div><font face="Courier New" size="3">I guess another way of
saying this -- I started buying GG stuph around 1971 -- is I
never heard a GG </font><font face="Courier New" size="3">recording
I didn't like. And never yearned for a new remastering that
would technologically "improve" </font><font face="Courier
New" size="3">the old recording and make me love it more.
I've bought and had Happy Thought about new editions, but </font><font face="Courier New" size="3">the magic was in the recordings
I first heard, the magic hasn't been improved since.</font></div>
<div> </div>
<div><font face="Courier New" size="3">Bob <br>
Massachusetts USA</font></div>
<div> </div>
<div><font face="Courier New" size="3">P.S. Winter finally ended
and boy am I happy. Off-list I'd be happy to dicuss the
existence or non-existence of Climate Change, and Whose
Fault it is.</font></div>
<div> </div>
<div><font face="Courier New" size="3">P.P.S.</font></div>
<div><font face="Courier New" size="3">What up recently, if
anything, with lossless digital technologies like FLAC?</font></div>
</font>
<div> </div>
<div> </div>
<div> </div>
<div>
<div><font face="Arial"><font face="Courier New" size="2"><strong>News,
Global Warming, Mozart, Sports, Intergalactic Travel,
sausages, <br>
VOLCANOS!!! opera, PIRATES!!! Filth in Extinct Lingos, </strong></font></font></div>
<div><font face="Arial"><font face="Courier New" size="2"><strong>Big
Integers & BOINC: </strong></font><a><font face="Courier New" size="2"><strong>http://VleeptronZ.blogspot.com/</strong></font></a><br>
<font face="Courier New" size="2"><strong>Remarkable Older
Stuph: </strong></font><a><font face="Courier New" size="2"><strong>http://Vleeptron.blogspot.com/</strong></font></a><br>
</font><font face="Arial" size="2"><br>
</font></div>
</div>
<br>
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</blockquote>
<br>
</div></div></div>
<br><br>
<br></blockquote></div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature">/Kristian</div>
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