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Monday, February 22, 2021

Sollevatore (the secret files)

 A cool VTA arm base/mount will be ready, soon...

...  not my own project or building, yet a very useful tool for any analog lover... as very, very few are currently available on the market.

Will look with interest for the finished product... in the meantime, stay tuned.

Sunday, February 21, 2021

My bible


... in the meanwhile, in Moscow...


... some years ago, two audiophiles met...

... I bet it: they’re talking about changing the VTA on the turntable at background...

Crazy audiophiles...

Wednesday, February 17, 2021

Around the World in 80 Days

Love this pre-recorded tape... and here is the musicians fees paid in 1958 (thanking Steve Hoffman for this gem🥇🥂🥇)

Double triodes galore 🎶🎶🎶


Tuesday, February 16, 2021

Thursday, February 11, 2021

They don’t make like this, anymore...


The suggestion for this disc came from Kavi Alexander, master recordist and music scholar and a huge lighthouse for yours truly.

His comments concerned the recording and overall care in attached booklet  and liner notes, with nice pictures taken during sessions, with details every audiophile cherish.

The sound is first rate and everything is captured as lively as it can be; Philips used their fantastic EL3501 tape recorder and Neumann U67 and U47.

A must-have disc, folks!

Wednesday, February 10, 2021

Thanking Peter Salisbury - Brahms, Bechstein grand piano and Stradivari viola on Harmonia Mundi


From Peter Salisbury’s words:

I’m getting very excited. From what seems like an eternity ago  I provided my 1899 Bechstein for a special recording project in Berlin with ANTOINE TAMESTIT & CÉDRIC TIBERGHIEN.

Finally its due to be released in 9 days time. 

You can hear the sound clips on the link below.!/albums/2674

It was a special project because both artists recognised the importance of something so hugely ignored today in recordings and concerts, raising the bar as far as they could to create something beyond special.

It cost a small fortune to pull off but my gosh, the results speak for themselves. 

Here is what the artists had to say about why they went to these lengths for their project. 

“During all these years spent working together and playing these Sonatas Op. 120 in concert, we have often mentioned the sonic alchemy necessary to best reflect Brahms' writing, highlight his use of registers and the richness of his polyphony. Antoine's viola Stradivarius, generously loaned by the Habisreutinger Foundation, is constantly focused on the expression of song and, in fact, has a unique colour. From then on, finding a piano with a similar personality and a particular variety of timbre became obvious to us.

This is why we are infinitely grateful to Peter Salisbury for entrusting us so generously with this masterpiece Bechstein made in 1899, which Cedric had the chance to perform on a few years ago. This piano develops unique colors in each register, to the point of redefining our approach to this music: the writing of Brahms, his use of harmonies, his work on all the tessitura of the instruments, his way of intimately interweaving the viola and the piano suddenly seemed to us to flow naturally. Like the viola of Stradivarius, each note begins to sing, with infinite roundness, even in the most virtuoso or intense passages. The alliance of these two instruments has quite simply offered us a key to better understand, better play this music, put ourselves entirely at the service of the extraordinary lyricism that it exudes. For us it was a real revelation!

It is also this lyrical power that drew us to the magical universe of Brahms' lieder. Because for us this poetic and expressive dimension is found in each of his works, whether vocal, chamber or orchestral. Miraculously combining an almost minimalist conciseness and a fluidity that is simply astounding of beauty, these pieces appear to us as a concentrate of emotions, an ideal of song which for us, logically resulted in the art of Matthias Goerne. Its natural, bewitching, overwhelming expression has helped us go beyond our own instruments and understand, by his example, that musical emotion can arise from breathing and even from the whole body.”


Sunday, February 7, 2021

Arturo Benedetti Michelangeli & Neumann U47




This turntable is a one of a kind project, built by a Scandinavian gentleman with utmost care for details and a rare dedication whose final version here shown needed several hours for fine tuning and several months in conceiving, sourcing and assembling parts from around the world.

The Garrard 301 was stripped down, a new solid chassis was fitted, a new precision intermediate idler wheel by Audiosilente was also fitted, an heavy duty lithium-grease bearing to support the impressive 13,5 kg bronze platter and 4 kg Takai gun-metal mat and 1,6 kg ebanite/bronze clamp all contributed to get a stellar result with a seldom heard lively resolution and dynamics.

The Darius Valiunas’ field-coil DaVa mono and stereo cartridges completed the analog combo with two 12” The Peak arms both mounted in bespoke bronze arm bases and Fidelity Research B60 VTA mounts, also using two Audiosilente handmade, heavy polished-graphite head shells.

The third arm, a DV-505, is fitted with a Rowland Complement cartridge.

The plinth is a bespoke SMD Acoustics slate skeletal design.

All considered, such a turntable represents... well: a veritable peak in analog reproduction art.

Compliments and kudos to the owner for perseverance, skills and dedication with the wish to enjoy all the music he loves with a richness and depth and variety as suggested by the above pictures declinations.


Tuesday, February 2, 2021

Robert Fripp in Venice


Mr. Fripp is a man of taste... here he’s taking a picture before a concert at La Fenice theater in Venice.

Love this picture, indeed.