[ITEM]
12.01.2019

Rca Living Stereo 60 Cd Collection Rar

1

【送料無料】 【中古】 Living Stereo 60cd Collection 【CD】。 ムートンフリースマット（ソファカバー） 60×180cm 【送料無料】（ソファカバー） コクヨ/脚折りたたみ式テーブルKT-L30和机 W1800*D600ローズ. Rca Living Stereo Collection, Vol. 2 by Beethoven, Ludwig van, Haydn, Franz Joseph on CD. Order from your preferred classical music CD store - ArkivMusic. Great prices.

Asc 'RCA I' focuses on recordings from the golden age of stereophonic reproduction -- approximately 1955-62. Listening to all 60 discs over a two-month period confirms two aural observations relative to contemporary classical music: (1) The late 1950s state-of-the-art ability to electronically capture a stereophonic soundstage and accurately reproduce it in your listening room subsequently underwent no significant improvement.

Relative to contemporary recordings, recording quality of virtually any RCA / Living Stereo recording is far more realistic in its reproduction accuracy. As there was essentially no real-time or post-recording technical tinkering, the sonic feel of the recordings appear more accurate, musically honest, and natural to the ears (provided, of course, one employs a quality stereo tube amp ran flat with two quality loudspeakers -- which was, of course, how this music was intended to be enjoyed). In a head-to-head, 'RCA / Living Stereo' vs. 'Mercury / Living Presence', matchup (from the same 1955-62 period), one will notice Mercury engineers utilized closer miking techniques -- indeed a photo from the Mercury box set exhibits the famous three mics suspended stage-front, overhead, whereas RCA engineering appears to have incorporated a pick-up location a few rows off-stage into the hall. The noticeable trade-off is apparent: the Mercurys are brighter, tighter, and have more direct punch (one gets the feeling that the conductors 'conducted' the players to play to the mics.), while the RCAs have a more thorough sound stage and a larger overall robust sound -- with the latter, your listening room can truly approximate the recording hall, which, of course, is what stereophonic reproduction was supposed to do. In short: with the Mercurys you hear more, with the RCAs you feel more. (2) Conductors and their musical interpretations, the instrumental competency of the orchestras, and the compelling ability of featured soloists from the 1955-62 period far and away outshine their contemporaries.

One listen to Charles Munch's interpretation of Saint-Saens Symphony No. 3 or Fritz Reiner's interpretation of Rimsky-Korsakov's 'Scherazade' and it's immediately apparent there are no contemporary conductors or orchestras who can approach these or the many other truly remarkable recordings in the set. The reason is simple: in the case of both conductors as well as many orchestral members, there was either a direct link or near-direct link to many of the 19th century composers and teachers responsible for the music at hand. Such links are absent from today's classical culture. The number of satisfying performances in the set are copious: Munch's readings of 'Daphnes Et Chloe' (Ravel), Prokofiev's Violin Conerto No.

2, and Beethoven's Symphony No. 6, as well as Reiner's readings of 'El Amor Brujo' (Falla), and Berlioz' Symphony Fantistique are notably outstanding. Soloists such as Rubenstein, Cliburn, and Heifetz are without contemporary parallel. There are about 10 CDs devoted to opera -- not enough to satisfy an appetite for that sort of thing, yet surely enough to blemish an otherwise incredible cross-section of RCA's golden 'stereophonic' age of formal Western art music. There's also a CD each of solo pipe organ music and Spanish guitar music. In all three cases, these would be better served in sets addressing their respective music genres.

Rca

This set, along with its recent Decca, Philips, and Mercury counterparts, serves as an excellent method to instantly acquire quality recordings of formal Western art music; and at approximately $2--3/disc this wonderful music can be had at a fraction of the traditional single disc cost. Most discs are coupled with additional works to routinely tally individual disc playing times to over one hour. The set is a truly phenomenal and inspirational collection or formal Western art music and will provide a lifetime of satisfaction and enjoyment. I already owned a number of the albums in this set and in the companion Volume 2 set, either in the form of hybrid SACD/CD's or on vinyl. Liner notes with the hybrid SACD/CD's explain that when these albums were remastered, it was intentionally decided to use no noise reduction or noise shaping in an effort to retain the 'sound' of the recording venue and sense of the recording acoustic, even though this usually resulted in tape hiss from the old analog master tapes being audible. Audiophiles, who already greatly prize these recordings because of the quality of the performances and minimalist miking techniques of the era, especially appreciate the lack of noise reduction / noise shaping because it is vital to letting the listener here the 'sound' of, and air in, the recording venue. What I am finding is that the titles in this collection that were also reissued in hybrid SACD/CD form, like the Earl Wild performance of Gershwin's Rhapsody in Blue (Volume 1, CD 8), were not scrubbed for tape hiss, the result being that they sound very natural like the hybrid SACD/CD's, while recordings that were not released in hybrid SACD/CD form, WERE scrubbed for noise, for example, the Rubinstein/Szeryng performance of Beethoven's Kreutzer and Spring sonatas (Volume 2, CD 17), and they sound flat and not life-like on high resolution systems.

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12.01.2019

Rca Living Stereo 60 Cd Collection Rar

69

【送料無料】 【中古】 Living Stereo 60cd Collection 【CD】。 ムートンフリースマット（ソファカバー） 60×180cm 【送料無料】（ソファカバー） コクヨ/脚折りたたみ式テーブルKT-L30和机 W1800*D600ローズ. Rca Living Stereo Collection, Vol. 2 by Beethoven, Ludwig van, Haydn, Franz Joseph on CD. Order from your preferred classical music CD store - ArkivMusic. Great prices.

Asc 'RCA I' focuses on recordings from the golden age of stereophonic reproduction -- approximately 1955-62. Listening to all 60 discs over a two-month period confirms two aural observations relative to contemporary classical music: (1) The late 1950s state-of-the-art ability to electronically capture a stereophonic soundstage and accurately reproduce it in your listening room subsequently underwent no significant improvement.

Relative to contemporary recordings, recording quality of virtually any RCA / Living Stereo recording is far more realistic in its reproduction accuracy. As there was essentially no real-time or post-recording technical tinkering, the sonic feel of the recordings appear more accurate, musically honest, and natural to the ears (provided, of course, one employs a quality stereo tube amp ran flat with two quality loudspeakers -- which was, of course, how this music was intended to be enjoyed). In a head-to-head, 'RCA / Living Stereo' vs. 'Mercury / Living Presence', matchup (from the same 1955-62 period), one will notice Mercury engineers utilized closer miking techniques -- indeed a photo from the Mercury box set exhibits the famous three mics suspended stage-front, overhead, whereas RCA engineering appears to have incorporated a pick-up location a few rows off-stage into the hall. The noticeable trade-off is apparent: the Mercurys are brighter, tighter, and have more direct punch (one gets the feeling that the conductors 'conducted' the players to play to the mics.), while the RCAs have a more thorough sound stage and a larger overall robust sound -- with the latter, your listening room can truly approximate the recording hall, which, of course, is what stereophonic reproduction was supposed to do. In short: with the Mercurys you hear more, with the RCAs you feel more. (2) Conductors and their musical interpretations, the instrumental competency of the orchestras, and the compelling ability of featured soloists from the 1955-62 period far and away outshine their contemporaries.

One listen to Charles Munch's interpretation of Saint-Saens Symphony No. 3 or Fritz Reiner's interpretation of Rimsky-Korsakov's 'Scherazade' and it's immediately apparent there are no contemporary conductors or orchestras who can approach these or the many other truly remarkable recordings in the set. The reason is simple: in the case of both conductors as well as many orchestral members, there was either a direct link or near-direct link to many of the 19th century composers and teachers responsible for the music at hand. Such links are absent from today's classical culture. The number of satisfying performances in the set are copious: Munch's readings of 'Daphnes Et Chloe' (Ravel), Prokofiev's Violin Conerto No.

2, and Beethoven's Symphony No. 6, as well as Reiner's readings of 'El Amor Brujo' (Falla), and Berlioz' Symphony Fantistique are notably outstanding. Soloists such as Rubenstein, Cliburn, and Heifetz are without contemporary parallel. There are about 10 CDs devoted to opera -- not enough to satisfy an appetite for that sort of thing, yet surely enough to blemish an otherwise incredible cross-section of RCA's golden 'stereophonic' age of formal Western art music. There's also a CD each of solo pipe organ music and Spanish guitar music. In all three cases, these would be better served in sets addressing their respective music genres.

Rca

This set, along with its recent Decca, Philips, and Mercury counterparts, serves as an excellent method to instantly acquire quality recordings of formal Western art music; and at approximately $2--3/disc this wonderful music can be had at a fraction of the traditional single disc cost. Most discs are coupled with additional works to routinely tally individual disc playing times to over one hour. The set is a truly phenomenal and inspirational collection or formal Western art music and will provide a lifetime of satisfaction and enjoyment. I already owned a number of the albums in this set and in the companion Volume 2 set, either in the form of hybrid SACD/CD's or on vinyl. Liner notes with the hybrid SACD/CD's explain that when these albums were remastered, it was intentionally decided to use no noise reduction or noise shaping in an effort to retain the 'sound' of the recording venue and sense of the recording acoustic, even though this usually resulted in tape hiss from the old analog master tapes being audible. Audiophiles, who already greatly prize these recordings because of the quality of the performances and minimalist miking techniques of the era, especially appreciate the lack of noise reduction / noise shaping because it is vital to letting the listener here the 'sound' of, and air in, the recording venue. What I am finding is that the titles in this collection that were also reissued in hybrid SACD/CD form, like the Earl Wild performance of Gershwin's Rhapsody in Blue (Volume 1, CD 8), were not scrubbed for tape hiss, the result being that they sound very natural like the hybrid SACD/CD's, while recordings that were not released in hybrid SACD/CD form, WERE scrubbed for noise, for example, the Rubinstein/Szeryng performance of Beethoven's Kreutzer and Spring sonatas (Volume 2, CD 17), and they sound flat and not life-like on high resolution systems.