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?
As a complete change from the normal genre's of Folk or Jazz
Here is a copy of a vinyl I owned in the late 1950's which was one of the first wave of Hi-Fi demo recordings heralding the arrival of stereophonic records into the domestic music market. Stereo had been around for some years previous to this, mostly available to those that had reel to reel tape decksor FM radio with a stereophonic decoder.
I remember the scramble to go over to stereophonic listening, the frantic search for an identical loudspeaker to the existing single one, hastily building another amplifier (Mullard 3-10) and saving up for one of the, then very expensive stereo phono cartridges just to experience recorded sound as it could be heard naturally.
Early examples of stereo sound contained many gimmicks in the recording to emphasise the left to right effect, careful positioning of microphones, instruments, even heavy curtains hung between the centre of the band, all to emphasise the left-right nature of stereo. Serious and far less gimmicky recordings used low numbers of microphones carefully positioned to simulate how the human ear would hear the real sound
this technique is used on the Arthur Lyman album presented here. Add the wonderful acoustics of the aluminium domed roof and you have an exciting live vibrant recording.
This copy is not as clear and crisp as I remember the original, but my ears are 50 years older now though what I hear I still find exciting. There is some distortion, probably due to wear, the intense sounds of the unusual rhythm percussion shows some signs of harmonic distortion (breathy sounds) but all in all it is acceptable considering it's age. Cleaned and restored quite well for what was obviously a well played LP