Tag Archives: Sonny Rollins

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Our son played trumpet for much of his pre-teen and early teenager years and we had two dogs that used to howl when he played. However, when they would hear recorded versions of the same material, played back on my wife’s cellphone, they would also howl. So, our experience is different than Ed’s.

The dog gets it

When HiFi Family member Ed Spilka sent me the following note I just had to smile. How many times have I heard a similar story? Too many times to count.

And here’s the thing. It’s not just about vinyl. I have heard the same stories about DSD, vacuum tubes, and even good vs. bad cables.

I am sure the measurement folks will have a field day with this one.

“I wanted to share an interesting audio experience that happened the other day.  We were visiting a friend of my wife’s in San Antonio. She was showing us around their new house when we walked into “his” room which held Wilson Alexandria speakers, D’agostino amps, Berkeley DAC’s etc. You get the idea.

When he came home he invited us into his inner sanctum and we began to play. At one point we were A/B’ing between his vinyl collection and streaming on tidal/Qobuz with Sonny Rollin’s Way Out West. On one cut it is just the drummer and Sonny. When Sonny started blowing on the vinyl version, their dog began singing along—howling like crazy. As soon as we switched to the streaming version, the dog was silent, uninterested.

My wife pointed it out to us since we were too engrossed in “listening” to notice the obvious! It happened every time we switched back and forth between vinyl and streaming. Have you experienced that before?”

As I said, this has happened to me with animal reactions more times than I can count.

We might argue like crazy, but the dogs get it.

Asheville, Hendersonville, Arden, Fletcher, Walnut Cove, Biltmore Park, BiltmoreForrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Paul has been writing about recording quality and while it is interesting to me, I’m not re-posting as I do not think many of you would be interested in the technical details.
The short of it is that recording engineers use compression for many reasons, primary of which is available space on LP’s, CD’s and internet streaming. Compression isn’t good, but it is widely used.
Some of the best recordings I have are on the Contemporary label which was started by Lester Konig in the 1950’s. Lester hired Roy NuNann to be his recording engineer, gave him a few good microphones and pretty much left Roy to do the best he could, with what he had. This was typical of the jazz scenes back then. Roy built his own tube amplifiers and figured out the best way he could to reduce tape hiss, as all recordings back then were recorded to tape an tape hiss was inherent in the process. His mantra was as simple a recording pathway as possible and you can here this in his recordings.
Some of Roy’s audio recording included Sonny Rollins Way Out West, Andre Previn’s West Side Story and many of Art Pepper’s and Ornette Coleman’s albums. He also recorded Shelly Mann, Ray Brown and Barney Kessel’s Poll Winner Series, which is simple electric guitar, bass and drum jazz that really swings and one of my favorites.
Roy was pretty much ignored for many years until Stereophile became aware of his recordings and published an interview with him about 5 years ago.
Here is a short bit of the article, which can be found in its entirety at http://www.stereophile.com/interviews/402roy/index.html#lqH2V4THQO4IXvy3.97

“But thanks to Roy DuNann—thanks to his genius for mixing on the fly at 3am, thanks to his intuitive respect for a clean signal path, thanks to his willingness to set up the studio fresh for each session, thanks to his constant fussing over his equipment, checking, tweaking, rebiasing—we possess vivid knowledge of what Sonny Rollins sounded like when he was 27. And Art Pepper in his prime. And Ornette Coleman as he sounded before he came East and turned New York on its ear.”