Folk & Jazz fan, specialising in vinyl restoration.
Although I would prefer to only post albums that I have paid for, or those of close friends, I am open to suggestions and offers of rare Folk items that need tender care and restoration, provided the supplier has the right of ownership of the physical item. NOT JUST an MP3 COPY of it.
To give you an idea, I am prepared to restore vinyl belonging to another person, IF I receive a decent quality scan of the front, back and any relevant information that comes with the LP, preferably at least 2400 by 2400 quality, (600DPI scans for back) along with the sound files in FLAC format as waves are a bit too large to transfer.
Then I will check their suitability for restoration.
I try to maintain the requirement for a decent set of scans for each item, where possible, as I feel the music is incomplete without it. Sometimes this is just not possible as a lot of my stock came from broadcasting organisations that had their own heavy card sleeves, with information relevant to their prime function, that of providing the disc-jockies with basic details to pass on to listeners. I do wonder what happened to all the original artwork?
This album rip was kindly donated by one of my Blog watchers, it follows on nicely from the previous post it is one of the many sessions that Bud played on which used different and varied accompliments, this album features the Hammond Organ of Georges Arvanitas. I am not a great fan of too much Hammond, it has it's uses but in my opinion is more suited to cinema entertainment, though there is nothing un-musical about any of these fine renditions of standards from Gershwin, Cole Porter, Rogers and Hart, and of course "The Duke".
Scans were provided by the original ripper, I cleaned them up a little, as I did with the music, though most of the hard work had already been done.
I am running short of time at the moment, been spending far too much time on this ripping lark, so I am going to present what I have done up to now (A Side) and finish the B side later.
The rips are not at my usual 320k CBR because at sometime in the cleaning process they have gone through a lossy stage (MP3 or heavy noise filtering) so only warrant a lower bit rate setting, I have chosen 128-256 VBR as this nicely matches the spectrum of the original files.
1. Satin Doll
2. Easy To Love
3. I Cover the Waterfront
4. Please (Take 2)
Password to unlock the archive is gonzoBFSD
MD5: Side A 959B95C4F7DB4B93E9B9F2D2B4E5F083
MD5: Side B
The last track on side B is at 320k, because it seems to be a separate rip, not restricted by the lossy stage
as are the remaining tracks, the history of which is still unclear. Who has the original LP? Who ripped it first off?
See comments from cvllos regarding the source of the LP
John Wright was a very accomplished artist in the folk music scene. Singing, and fiddle playing were two of his most familiar skills, but lesser known was his ability on the Jews Harp, tracks containing this instrument seem to be only on one recording, this "Unaccompanied Album" on the TOPIC lable 12TS348
The complete album has been posted before but was withdrawn for some reason. I have done some restoration on this Topic album and to reduce the likelyhood of complaints from objectors, record companies and or copyright holders, I am going to post ONLY the three Jews Harp tracks.
The sample Jews Harp tracks here are
03 - Murphy's Hornpipe, 06 - Bridget Cruise 2 & 3 and the medley track
08 - Dornoch Links - the Shepherd's Crook - lochiel's Awa' to France
This John Wright is the folk singer that latterly lived in France, Not the John Wright from Yorkshirea that died in 2008.
Recorded in London, November 1975, contains many of Bud's standards and a few lesser known titles. Rear scans now available, see note**
01. Song of the Tenor 02. That D Minor Thing 03. Madame Dynamite 04. Blue Room 05. Keep Smiling at Trouble 06. As Long as I Live 07. Stomp, Look and Listen 08. Roy Hits The Road 09. Nobody's Sweetheart 10. Easy To Love 11. The Eel's Nephew 12. Blues in C Double Flat
Bud Freeman (tnr) Roy Williams (tbo) Bob Wilbur (sop / clt) Bruce Turner (alt / clt) Keith Ingham (pno) Peter Ind (bass) Bobby Orr (dms)
London. November 4th 1975.
LP was played on an Ariston Transcription deck with a Shure V15 cartridge into a Technics phono amplifier, line output fed to a Creative Labs Sound blaster Live audio card.Editing with Sound Forge and CoolEdit then MP3 encoded with LAME 3.90 to 320k Stereo format.
Music content HERE
Password to unlock the archive gonzoSOTT
** Back scans HERE
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Way back when the Compact Disc (CD) that we know today was being designed by Philips & Sony the designers were constrained by the technology available in the period (1979-1980). Digital recording was already well established in studio complexes using multi-track tapes, what was needed for home use was a medium that the average listener could handle easily, like the move from reel to reel tape to cassette tapes made handling easier, what was needed was a similar transition from the vinyl disc in analogue format to a smaller neater disc in digital format. The CD was born. Even with the restrictions placed on the designers by the 1980's technology, the CD produced audio so clear and bright compared to the average record, played on the average domestic record player, the differences were obvious immediately, no awkward pickup arms to place carefully on the record, no rumble, no scratches, no stylus to wear out. The CD's future was assured and after 30 years it is still a major source of recorded music for most people.
However, the convenience of the CD its ease of production with 21st century technology has meant that the CD has become just a marketing tool for record companies to fight each other with, to produce the LOUDEST sound in the battle for attention of the younger !music! listeners. We have lost the plot totally in this respect, music (real music) has two principal parameters, frequency, the pitch (key) of the sound, and amplitude (volume) of the sound. The loudest instruments in an orchestra or band are probably the percussion, and a front line of brass, the softest sounds being made by the delicate brush work on a drum skin, or the triangle in an orchestra.
Both these sounds have their place in the music, which means the space between them in volume as heard in the recording studio, should be the same space as heard on the eventual recording, this space is called the dynamic range, the difference between the softest and the LOUDEST sounds in the music. Sadly this is NOT happening, and has not been happening for the last 15 years at least. Studio engineers, producers are progressively reducing this dynamic range in an effort to produce the LOUDEST overall sound to the consumer, the consumer that is becoming progressively more DEAF to the dynamics in music expects it.
This destruction of dynamics in music had not gone unnoticed by those that remember better times and better music, to this end a group has been formed to try to convince the record producers that dynamics are needed in music, to allow the best listening experience. If you are interested in joining or just reading up on this subject, might I suggest you visit the web site HERE
You can read more, and even download a program "DR" that you can use to check the music on your system HERE
A brief extract from the site gives us this leader into their mission ... DYNAMIC RANGE and the end of loudness insanity!
The TT DYNAMIC RANGE METER Plug-in is an open source plug-in (VST, AU and RTAS)
which is perfectly suited for many applications used in modern music production. Additionally we supply the TT DR Offline Meter Software (PC) which will be used for the fast and convenient offline calculation of the official DR value of releases. In this way, anyone involved in music production has a tool for creating more dynamics in their productions.
This is a condition for ending the Loudness War!
For those who are not familiar with this term, here's an explanation: the Loudness War designates the senseless competition between record companies which involves releasing music with increasingly high amounts of dynamic compression (the "compression" of dynamic levels so that originally quiet passages are as loud as the loudest parts of a song). This results in products which are increasingly obtrusive in order to fight for the listener's attention.
If you are in music production, or involved with mastering, please remember we like to hear our music correctly, with LOUD highs, and delicate soft lows, just as it would be in a concert hall, NOT as a weapon between record companies to destroy our enjoyment, and hearing.
PHASE 2 Begins July 2012, by this time record companies that have signed the pledge to reduce compression in their music should be producing CD's with a dynamic range of at least 14dB, or on lesser ranges (circa 8dB) music with a 6dB headroom to sound the same volume as the 14dB.
!!Great News!! Now all you MAC owners can get DR !!
The MAC (MacOS) has long been a favourite of music makers, it's range of music production tools was always way ahead of the Windows platform until very recently, now there is NO EXCUSE for too much compression for all you MacOS Muso's
Only one change remains now for the MAC users, get to use SPACES in file names, dump that crazy Underscore finally.