This is Stefano Bertoncello's Blog (ステファノ・ベルトンチェッロ - トゥーグッドイアーズ − ブロガー、オーディオ＆ミュージック・コンサルタント) devoted to pacific topics like Music - live and reproduced - i.e. discs, audio, guitars and whatever musical: concerts, workshops, exhibitions, etc. Furthermore: travelling - as a mind-game and real globetrotting - and books, movies, photography... sharing all the above and everything which makes Life better and Earth a better place to stay, enjoying Life, in Peace. Proudly ads-free since 2007! Enjoy.💫
As found in Telefunken ELA M 250 / 251, Neumann KM54, Schoeps M221b and more microphones.
Pink Floyd The Dark Side of the Moon EMI Tape Box Folio – Side Two is a limited edition of 250 replica prints revealing the rarely seen EMI tape box for The Dark Side of the Moon Quadraphonic discrete master, held deep within the EMI archive.
At the time that Pink Floyd recorded The Dark Side Of The Moon, Abbey Road Studios was already known for shaping the future of music technology.
Recording of the album began in May 1972 in Studio Two at EMI Studios (as Abbey Road was known). The sessions were rich in Abbey Road’s legendary gear, including the iconic EMI TG12345 MK IV console - which had a compressor/limiter on every channel – the Hammond B3 organ – played through the Leslie Speaker - and microphones including the: AKG D2O, Neumann U48, Neumann U87, Neumann KM86, and the Neumann KM84. Abbey Road was to be Pink Floyd’s home for 38 days over a seven-month period.
The Dark Side of the Moon emerged the following year and was released on 1 March 1973, never to achieve the coveted UK number 1 position. At the time, perhaps this multi-layered album, with its light and shade and a genre impossible to define was too esoteric, but it quickly found its way to becoming the authentic, complex and deeply personal album to fans around the world.
This unique item is an exclusive collaboration between Pink Floyd and Abbey Road Studios. Each handmade folio is numbered and includes a 500gsm box card black folder (37cm x 37cm with a 5cm lip) which encases the two replica litho prints (30cm x 30cm), recreated in exact life size dimensions and cradled with transparent corner holders. A numbered certificate of authenticity accompanies each edition.
Sound engineer notations of this superior Quadraphonic recording remain unchanged, reproduced with original details such as tape marks and box condition details for complete authenticity. Accompanying documentation reveals detailed explanations of the tape box’s coded markings and a contextual history of the Quadraphonic sound process, channelled through Pink Floyd’s vision at Abbey Road.
The quadraphonic discrete master details the tracks: Money, Us and Them, Any Colour You Like, Brain Damage, and Eclipse. The Client ‘Harvest’ refers to Harvest Records, formed in 1969 by Malcolm Jones, a trainee manager with EMI. The Harvest label was created to nurture the emerging underground rock scene and most of the signings to Harvest were British acts including Pink Floyd.
Folio Dimensions – 370mm x 370mm
My pal Gab is so fond and… obsessed about old, classy cinema speakers and amps from obscure Italian brands (Cinemeccanica’s the most famous 🥇).
He enjoys his goodies in glorious mono 🔝
If a man is his own obsessions, Gab is as obsessed as I am about my beloved open-reel studio machines 😏
All my empathy and kudos to Gab 🥇🎶🥇🥂
Fond aural memories 😏 which I re-discovered, again, after five years since I sold my Hiragas’ Le Classè A 30W amps: the 20W is a beauty 🥇 and an evergreen for Gotorama. 🎶🎶🎶
Sad news… Steffen passed away and my heart is bleeding… he has been a good friend and a mentor, an artist and a lighthouse.
We spent a few hours at his Berlin flat, chatting and playing… and corresponded for years… about life, music and Robbie Basho, of course.
I’ll miss him dearly 🌸
Thanking beloved Mojo magazine 🥇
Yes 😏😀🤣😊😏 my 13” arm uses a 13” Litz wire ✅
🎶
In Memoriam: Aline Kominsky-Crumb
1948—2022
December 1, 2022
We are deeply saddened to share that artist Aline Kominsky-Crumb passed away Wednesday, November 30, in the south of France.
Since 1971, Kominsky-Crumb, wife and mother of artists R. Crumb and Sophie Crumb, respectively, had been a pioneering figure in the world of comics, well-known for her confessional mode of storytelling and expressionist-inspired drawing style. She was one of the first contributors to the all-female anthology Wimmen’s Comix in 1971; cofounded the seminal comics series Twisted Sisters in 1976; and, in the 1980s, served as editor for the influential alternative comics anthology Weirdo. Her work has been published in Artforum, The New York Times, The New Yorker, and many other magazines, and has been exhibited in numerous museums.
“[Kominsky-Crumb’s] female faces…have sometimes uncontainable fierceness.”
—Roberta Smith, The New York Times
She was born Aline Goldsmith in Long Island, New York, in 1948. By the time they met in 1971, Aline and R. Crumb had each already established themselves at the forefront of the underground comics scene. Since then, the two artists have maintained their own distinctive practices while also frequently collaborating on projects such as Aline and Bob’s Dirty Laundry Comics (1974) and, more recently, Bad Diet & Bad Hair Destroy Human Civilization (2020).
Since 1991, the Crumbs, while icons of the American counterculture, have lived in and around a small town in the south of France, much of that time with their daughter Sophie, who was born in 1981 and currently lives nearby with her own family.
In February 2022, we presented Sauve qui peut ! (Run for Your Life), the first major group exhibition of all three artists in the family since 2007, at our Paris gallery. The show included many collaborative works and a new zine, jointly created by the Crumbs. To mark the occasion, Aline reflected on her life and work in Artforum, remarking, “I have stayed out of the mainstream my entire life, partially because the work itself determines that it’s not mainstream work… Now, my work is taught at Harvard and women have written PhDs on my work, which really amazes me. So it’s full circle, if you hang in long enough. And I guess if your work is meaningful, eventually it’s recognized by the establishment. On one hand, you can be a contrarian and say “no” to everything… But on the other hand, if you say “yes,” more people will read your work, and that’s why you do it: to communicate.”
Courtesy of DavidZwirner.com
Cover image: R. Crumb, Portrait of Aline, 2020 (detail). © Robert Crumb, 2022
💔🌸🌸🌸💔
Bebo was a music and audio reviewer whose influence was paramount in growing my own and several other Italian audiophiles’ love for quality audio.
His prose was straightforwardly hinting to several topics which for a younger me were like nourishment for my mind: I remember I waited at the newsstand for the freshly issued audio magazine, feverish aiming to read Bebo’s reviews.
A junkie 😏
Thanking Bebo I knew music and gears and lingo I’d never had the opportunity to know elsewhere.
In my personal Olympus, Bebo sits with a bunch of others, both living and passed: Harry Pearson, Ken Kessler, Sandro Ruggieri, Jean Hiraga, Lorenzo Zen, Art Dudley and an haggard bunch of others.
Bebo was 63 😱
RIP and my condolences to his family… and thanks 💔
.jpg)
.jpg)
