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These are 44.1/16 standard CD issues of tapes processed at higher rates and resolutions, using tools not available before, say, 2008, as far as I know. It would be useful to research if such tools were used by the big recording companies before being offered to the public and, if so, beginning when It should be possible to download various releases and analyze them in Capstan to see what their analytical tools show on their screen picture of pitch continuity. This is such a marked improvement that such data should be included in reviews. Though fighting words to some in the profession, I believe the record reviewer's major function is to apply his specialized skills and knowledge to better inform the potential buyer. Steve Smolian -----Original Message----- From: Roderic G Stephens Sent: Friday, June 01, 2012 7:34 PM To: [log in to unmask] Subject: Re: [ARSCLIST] Who needs vinyl? Are we talking about SACDs, because I'm interested Bernsteins' Mahler second in that format with the N.Y. Phil that only seems to be available in a Japanese remastering? http://www.cdjapan.co.jp/detailview.html?KEY=SICC-10054 --- On Fri, 6/1/12, [Richard A Kaplan] <[log in to unmask]> wrote: From: [Richard A Kaplan] <[log in to unmask]> Subject: Re: [ARSCLIST] Who needs vinyl? To: [log in to unmask] Date: Friday, June 1, 2012, 1:09 PM Sony's release of Bernstein's Mahler cycle last year in new masterings from session tapes was revelatory; it shows (a) what they're capable of when they're willing to use the resources, and (b) how inadequate the huge bulk of their CD reissues have (has?) been. I'm with Steve: More! Rich Kaplan In a message dated 6/1/2012 3:05:07 P.M. Central Daylight Time, [log in to unmask] writes: I recently heard the last 2 movements of the Beethoven 3d Piano Concero on the radio and was amazed. I had no idea who was before the public at present who played the piece this well. What particularly grabbed me was how rich the piano tone was, how clear the various piiano voices and orchestral parts were and how well the whole thing sounded together. Imagine my surprise. It was Leon Fleisher, George Szell and the Cleveland Orchestra, made in 1959. After a bit of investigation, I learned it was a new, 2012 24 bit ransfer from Sony. I orderd the box of the 5 Beethoven and two Brahms Concerti that night. When it arrived, it also proved to contain the Brahms Handel Variations, the op. 39 Waltzes and Mozarrt's 25th Concerto. I'm playing the 3d now through my office listening set-up. It's far more than the radio disclosed. Though I've yet to see a review that addresses it, this is clearly (!) a huge improvement over all previous releases in any format. I am assuming they've used Capstan as there is no wow or flutter- something to which my my ear is particulary sensitive. The crispness of the sound indicates corrections to problems caused by slight misphasings, firmly and distinctly positioning the instruments within the orchestra. A slight cut made here at about 2700 cycles allows the piano to sound completely equalized throughout its range with no notes suddenly sticking out. The occassional buzzy noise I used to think were defects in the recording are now revealed as piano problems. I can't hear any tape hiss at all. The only negative is that the time between movements is often too short and unrelated to the music's pulse. Oh, yes. Setting aside a few missed notes in a few of the more elaboate passages, the 3d is a terrific performance. They are well enough known by now not to require a review. The digital millenium has arrived. More! More! Steve Smolian