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My vinyl copy is fine. In my experience a large amount of claimed 'no-fill' is simply error in anti-skate. The hi-res version is still quite heavily bricked, the vinyl somewhat (but not entirely) less so, as a result is really a much better listen.

Don't have a copy of A Love Supreme yet?

I agree, but there is a grain of truth amidst the vitriol. KPG does tend to smooth things out, knowing that the 'audiophile' audience seeks that. The Music Matters 33 series struck a balance in that respect - they had the edge, but also the tone. The earlier MM 33 series was overly smoothed...

LOL. Mastering, KPG at least, $350/hr plus $350 per 12" side. Peanut money? This is an industry that often won't pay 0.02 cents more for a poly lined inner sleeve. I'm not talking without knowledge, having been inside the industry. Universal, as one, doesn't give a soft shit about...

Yet, he says he does not bother with any previous notes and likes to take each project fresh. Major labels won't have copies of original pressings. And if they do have archives - labels like CBS did - they won't let them out. 40 minutes - that's an extra hour of mastering time. No, for most...

Seriously? Rhino don't have an OG, and even if they did, they aren't paying a mastering engineer extra to listen to one. Mastering engineers do not get TP's. The paying customer does - the label.

I agree with Fremer. There is far, far too much 'prettying up for fine dining' in the world of audiophile vinyl. KPG is just as guilty, or more, of turning a punkish record into easy listening, RKS can do this too. They know the audience and know what they want. Sound. No one fucks up the OG...

This is a GREAT record. Sadly it is the only Kirby record of it's type, as I don't really feel any others.

Right. And it comes down to how much time the label is willing to contract. They don't listen to the lacquers, that isn't possible, so once the levels are set, the lathe gets going and cuts the lacquer. Mastering guys generally don't get TP's. Those go to the client, and presumably in the...

Why? Not a Joe Biden supporter?

LOL. Post of the year.

Value for money! By the time you get back to your seat, it's time to get up to change the side.

I still have the scarf from V.1 - nice scarf. That's all I kept out of two volumes. The Ornette BN material is 'advanced', not easy listening. So a lot of people pass. The Contemporary Ornette is easier, even the Atlantic. I'm sure a lot of people who bought the Lee were expecting lighter...

Not surprised that V.2 never sold out. Many were pretty soured by V.1, and although the V.2 pressings were much better - essentially the first two TP's - neither are really essential. I'll pass on V.3. Can't see much more to be done with Lee Morgan. My guess is they are moving to a more VMP...

LOL - "sourced from the original master tapes" but there were no tapes. "PCM digital master to analog console" sure, in 1991, PCM was 16 bit so the "reference grade audiophile sound" is - well - 16/44 or maybe 16/48 digital.

So, you make a good point. The issue is whether the new OJC's come from ORIGINAL master tapes or analog tape copies. We know, for example, that the Miles original masters have been in poor condition for at least 15 years. So what is really the source? I have no doubt it is analog, but also...

Nope. There is a 24/96 version available, and with half decent equipment, will sound much, much better than a CD or streaming. Good record.

Not aimed at you, but it astonishes me that music can be a contest to audiophiles. Why must one 'beat' another? I have the Classic. It is superb. Moving on to other music is more rewarding than chasing some arbitrary grail. On Deja Vu, I'm sure the recent 33 is just great. No one should hunt...

BG has a studio in Japan, so it is entirely possible.

MOFI don't have machines. RTI have the machines.