I've been looking! I -almost- bought one when I moved to Detroit and have been kicking myself ever since. They've REALLY gone up in price. What a cool car.Ooh. See if you can find her a clownshoe (Z3 coupe).
I've been looking! I -almost- bought one when I moved to Detroit and have been kicking myself ever since. They've REALLY gone up in price. What a cool car.Ooh. See if you can find her a clownshoe (Z3 coupe).
As funny as it sounds, $125 doesn’t sound unreasonable. Especially for something of truly top quality. I’ve spent enough money on disappointing audiophile releases, so knowing I was getting something really great makes it seem a reasonable value.
As a side note, on the digital side of things, I wasn’t taken with Steven Wilson’s remastering of Stand Up, which received rave reviews but not from me. In fact I’ve been disappointed by all the Wilson remasters I’ve heard - Benefit, GG’s Power and Glory, some of the Crimson. Odd.why am I not hearing what others hear?
The Making Movies 45 pressing got me to dig out my Audeze headphones to play it really loud. Wow. What a fantastic mastering job.
I have the SACD of Making Movies. It’s great. I feel this is a bit better? I’m going to make space in my system for my SACD player this week partly because I’m back in Chicago and the somewhat secret store at Music Direct has b-stock mfsl SACDs.I think of the recent MoFi Dire Straits SACD reissues that one may have impressed me the most, at least as compared to the improvement over the already very good Japanese import SHM-SACDs. Both are good but the MoFi just stands out as better, the definitive digital version, I can't imagine the all analog mastering is anything but stellar.
However in the end if you've grown completely accustomed to how the originals sound, the removal of that tape generation can in some people's mind create an all-new cleaner (too clean?) window to better see into the original recording, and for many, that's too sterile, not faithful to the original, strays a bit too far.
I rather like the remixes and Robert Fripp had said after reviewing some of the earliest work that he pretty much then gave Wilson free reign, and thought he was making many of the same decisions he himself would have if given access to that kind of mixing technology all those years ago. Of course he's trying to sell the same titles all over again, however I don't get the feeling Fripp is lying about it, the digital remixes sound great but different, and of course not quite as analog, as nearly always that ever so slight hardness or "bite" associated with most ProTools-type work (in Wilson's case not Pro Tools but Apple Logic Pro) is at times present.
I find this happening with gear sometimes. I got to a point with my main rig where it was so clean and clear that the individual instruments didn't gel back into a cohesive whole. On the digital end that's why I went with the Topping over my Berkeley Alpha DAC... perhaps the Berkeley was 'better' but the Topping held together better musically. On the turntable front, it's meant using SUTs instead of active head amps, and overall the Transformer Volume Control that I used tended to hold everything together, despite it being incredibly clean/transparent. Transformer based step up/downs seem to be good at that trick.Well, that all makes sense and I thank you for that. But it’s not so much a ‘too clean’ sound - though I certainly know what you mean - it was more as if a cohesiveness to the layers of music was replaced by too much a sense of separate layers, if that makes sense. And yes, it was Fripp’s boostering, and a respect for Wilson’s musical output, that brought me to his remixes. If Fripp’s solo output is any gauge, he can lean towards a bright sound, and in some instances almost a ‘cut glass’ sound. I’ll give ‘Stand Up’ another listen but again, with ‘Stand Up’, we’re on sacred ground, at least for me.
I love the 1-series and have almost bought one a few times. At least around here the collectors are in them now. Or at least, those who want a modern BMW that feels more like an older one. We were looking at E30s just for a spare car for my wife, she’s had 3 of them. They used to be almost free. Hundreds to a few thousand depending. Occasionally one is still cheap but it’s a mess. E46s are pretty cheap now so we might just get another one. Ours took a beating driving from Chicago to Detroit back and forth a few dozen times and is worth less than it’ll cost to get it back to good shape. Though now my wife says she wants a Z3.
We have one and I'm up for another but Alejandra is super into the idea of a Z3...we're just talking about it right now. Her logic now is "We can't go to restaurants or bars, all we can do is drive so we might as well have a fun car". Hard to argue with that. She needs a car, her E46 is currently a disaster in need of about $2500 of work, which is about what its worth...It may be the time to collect E-46s. Just saying...
"...all we can do is drive so we might as well have a fun car".
However in the end if you've grown completely accustomed to how the originals sound, the removal of that tape generation can in some people's mind create an all-new cleaner (too clean?) window to better see into the original recording, and for many, that's too sterile, not faithful to the original, strays a bit too far.