Eventually I spant last nigh 3 hours to listen the Peter’s K-Stereo processed CD’s and took some notes, Below are some real-time comments of this listening session.

Playlist 06; Song 01.
Track 1; 17:27.
Serge Koussevitzky, Boston Symphony Orchestra.
Tchaikovsky, Symphony No 4 in F Minor, Opus 36.
RCA Victor LM 1008; Recorded 1949.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo K-LEVEL K +06.0; WIDE + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

The source for the records was not particularly good. It has low pass filtering applied – something that should not be done for noise redaction. The sound generally is fine but I would like it to be a little bit more moisture and more sticky. It sounds more like orchestra play during summer day at heat of 100F.

Playlist 06; Song 02.
Track 2; 17:26.
Serge Koussevitzky, Boston Symphony Orchestra.
Tchaikovsky, Symphony No 4 in F Minor, Opus 36.
RCA Victor LM 1008; Recorded 1949.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Sound is more compressed then previous track and much less colorful.  The shadows of the notes get eaten with adding some kind of grayness and genericism. The HF and some transients got eaten as well. The entire presentation more dull and way less impactful. The Mono Spot imaging more defused but I feel that it is related to loss of HF extension.

Playlist 06; Song 03.
Track 3; 18:46.
Evgeny Mravinsky, Leningrad Philharmonic Orchestra.
Tschaikowsky, Symphonie Nr. 4 f-moll (in F minor) op. 36.
Deutsche Grammophon 00289 477 5911; Recorded 1960.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; WIDE + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

It is not the finest recording but it is the way how they recorded it. There is a challenge in this track in lower bass – it should be better. The biggest problem however is that all orchestral instruments sound like the SAME instrument playing at different volume and at different frequency. Perhaps it my electricity today, I do not know. Still I do not like that Sound….

Playlist 07; Song 01.
Track 4; 18:46.
Evgeny Mravinsky, Leningrad Philharmonic Orchestra.
Tschaikowsky, Symphonie Nr. 4 f-moll (in F minor) op. 36.
Deutsche Grammophon 00289 477 5911; Recorded 1960.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

The first notes of coppers immediately indicate compression and striping of transients. Sound becomes lazier but slightly more organized I have to note. What however is very remorseful is that the presentation lost it’s positioning. The dimension of presentation is still there but now they are brutal “right-left”. If tonal event get propagated from first violins to trumpets-up or to cellos-down, which Mravinsky uselessly stick at extreme right, then it should be very gently cared out by clarinets, oboes and bassoons. They are uselessly in the middle right in front of conductor, slightly behind. The way how Macondo is configures is that it should properly present that special curvature and horizontal dynamic of that tonal event propagation. You know when a life orchestra plays and you sit at the right spot and the violas and cellos start to pay a few milliseconds earlier then the right-sliding sound tits the left-rising sound as it creates a swinging bubble of sound, almost standing there for a few milliseconds, not knowing where to collapse. It is very difficult to do with playback. Macondo does crack it, however NOT in context of this track. This track has very strange presentation. The Right-Left events at this track are there but anything between right and left is like out of phase – they come like from nowhere. The mid sections of orchestra feel like flying all over the stage without knowing where to lend… Very strange and very unpleasant effect!

Pay attention that now the effect of K-Stereo vs. not K-Stereo is reversed. Looking at the first two tracks I would attribute this sound to K-Stereo treated track. Are you sure that you do not confused the tracks?

Playlist 07; Song 02.
Track 5; 17:18.
Paper Hat, Nine Conversations.
Rufus Records RF067; Recorded 2006.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

It is some kind of jazz. I do not like this recording. Bass is incorrect, upper bass is never so heavily auditable and so prominent in context of a small jazz band. I was sitting there listing the whole paces. Yes, it is a nice collection of sounds but so what?

Playlist 07; Song 03.
Track 6; 17:16.
Paper Hat, Nine Conversations.
Rufus Records RF067; Recorded 2006.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Well, bass slightly lost it’s articulation and become less prominent and less annoying – that is good sigh to me. Compression, HF… But what should I do. To listen those sounds and “compare” them to the sounds from the former track? I do not do it I think this music that should be used for audio evaluations.

Playlist 07; Song 04.
Track 7; 7:24.
Monty Alexander, Love And Sunshine.
MPS Records 20 22620-4; Recorded 1974.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

It is some kind of Jazz as well. Are you sure that bass keys of piano should be at extreme left and the high keys of piano should me at extreme right? I was listening 1:29 sec of this track and moved next. BTW, it was bight like hell, audio bright. Too much “mastering”? Anyhow, Peter, I need to send you better examples of jazz… :-)

Playlist 08; Song 01.
Track 8; 7:24.
Monty Alexander, Love And Sunshine.
MPS Records 20 22620-4; Recorded 1974.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

I skipped this track

Playlist 08; Song 02.
Track 9; 6:28.
Bill Evans, Waltz For Debby.
Giants Of Jazz CD 53371; Recorded 1972.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Here is jazz but more appropriately recorded, though the microphone too closed to dram’s cymbals was inappropriate.

Playlist 08; Song 03.
Track 10; 6:30.
Bill Evans, Waltz For Debby.
Giants Of Jazz CD 53371; Recorded 1972.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Like before – the transients got eaten but it made the entire sound better and it was too aggressive at high. Unfortunately now I am missing bass definition a lot of “clarity”. The texture of the play got quite subdued.

Playlist 08; Song 04.
Track 11; 4:01.
Paul Horn & Billy Bean, Flute Cocktail.
Brunswick 10152 EPB; Recorded 1958.
EP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Another Jazz!!! Is it reaching a critical mass for my weekly jazz consumption?

Playlist 08; Song 05.
Track 12; 4:01.
Paul Horn & Billy Bean, Flute Cocktail.
Brunswick 10152 EPB; Recorded 1958.
EP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

As I understand it was mono recording but I did not detect any large imaging difference between the track above. The former track I feel has very slightly larger “Mono Point” – the single absolute position where mono image should focus within a Stereo installation. The smaller point is the better system is. Still the deference between the Track 11 and Track 12 in the dimension of the Mono Point is very little.

Playlist 08; Song 06.
Track 13; 4:51.
Louis Stewart, Louis The First.
Hawk Jazz SHALP147; Recorded 1975.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

OK, some Jazz.

Playlist 08; Song 07.
Track 14; 4:51.
Louis Stewart, Louis The First.
Hawk Jazz SHALP147; Recorded 1975.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

I played Song 06 and Song 07 a few times. They are different. Song06 is noisier with less sophisticated tone. The Song07 has more mussels. However, the Song06 has some softness and space that I also do appreciate. What said is that in Song06 tone got corrupted. Pay attention the tone become to have less mining.

Playlist 08; Song 08.
Track 15; 3:15.
Blossom Dearie, Blossom Dearie.
Verve 837 934-2; Recorded 1959.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

OK.

Playlist 08; Song 09.
Track 16; 3:15.
Blossom Dearie, Blossom Dearie.
Verve 837 934-2; Recorded 1959.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Pretty much the same as Song 06 and Song 07. The Song 09 has more artificial noise that might add some “space” but it has a price tag.

Playlist 08; Song 10.
Track 17; 4:06.
Johnny Pisano & Billy Bean, Take Your Pick.
Decca Records DL 9212; Recorded 1958.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

OK.

Playlist 08; Song 11.
Track 18; 4:05.
Johnny Pisano & Billy Bean, Take Your Pick.
Decca Records DL 9212; Recorded 1958.
LP -> Turtle Beach Santa Cruz Crystal ADC -> RedBook CDR 16 bits 44.1 kHz (many years ago) -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Holly cow! This recording has bass? It was not auditable in the Song 10. The pattern is very same. The “Mono Spot” go enlarged but it more feel like a balloon the got blow….

Playlist 08; Song 12.
Track 19; 7:48.
Lisa Gerrard, Lisa Gerrard.
4AD CAD 2701CD; Recorded 1995.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; WIDE + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Hm, very affective! It hardly feels like music it more like a freak event in movie theater but still very impressive.

Playlist 08; Song 13.
Track 20; 7:46.
Lisa Gerrard, Lisa Gerrard.
4AD CAD 2701CD; Recorded 1995.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

This is way more appropriate and way more musical sound. This actually how it should sound! Pay attention how her voice is mixing with string section.  Pay attentions that it is not mixing but flow above the strings and when, what she needs it, her voice flow into orchestra. Pay attention how drama is being pumped via the relationship between his voice and the orchestral “filling”. Pay attention that at the Song 12 the effect was severely compromise and the drama was not there. Pay also attention how in Song 12 his voice got fragmentilized with a LOT of artifacts is noise.

Playlist 09; Song 01.
Track 21; 5:35.
Annie Ross & Zoot Sims, A Gasser.
Toshiba-EMI TOCJ-9463; Recorded 1959.
RedBook CD 16 bits 44.1 kHz -> K-Stereo K-LEVEL K +06.0; SMALL + DEEP ON; DITHER 16 POWr3 44.1 kHz -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

OK,

Playlist 09; Song 02.
Track 22; 5:35.
Annie Ross & Zoot Sims, A Gasser.
Toshiba-EMI TOCJ-9463; Recorded 1959.
RedBook CD 16 bits 44.1 kHz -> K-Stereo BYPASS -> Alesis ML-9600 -> RedBook CDR 16 bits 44.1 kHz.

Well, the same story as above.. I like the Song 02 is better then the Song 01. Pay attention at the natural infliction of the woman voice. You get texture and character. In the Song 01 those characters are less in amplitude. Her voice in Song 01 has some “empty” common denominator that should not be there…

K +01.5 WIDE + DEEP ON
Evgeny Mravinsky, Leningrad Philharmonic Orchestra.
Tschaikowsky, Symphonie Nr. 4 f-moll (in F minor) op. 36.

BYPASS
Paper Hat, Nine Conversations.

K +00.0 SMALL + DEEP ON
Monty Alexander, Love And Sunshine.

K +01.5 SMALL + DEEP ON
Bill Evans, Waltz For Debby.

K +03.0 SMALL + DEEP ON
Paul Horn & Billy Bean, Flute Cocktail.

K + 01.5 SMALL ON
Louis Stewart, Louis The First.

K + 01.5 SMALL ON
Blossom Dearie, Blossom Dearie.

K +03.0 SMALL + DEEP ON
Johnny Pisano & Billy Bean, Take Your Pick.

BYPASS
Lisa Gerrard, Lisa Gerrard.

K + 01.5 SMALL + DEEP ON
Annie Ross & Zoot Sims, A Gasser.

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Notes:

While we have variable electricity supply here, I do not experience the impact that you and others seem to experience.  I do not know whether that is because of the uninterruptible power supplies (very important) that I use, or that we have (notional) 240 V 50 Hz power supply (often 250 V), or that the amplifier I am using has hand wound high quality custom made output transformers (very important), or because I live in a semi-rural area, or for some other reason but it sounds to me from the descriptions on your site that whatever ambience recovery you might be able to obtain from a digital machine would make only subtle differences compared with the big differences being caused by poor electricity supply.  I mention this because your comments about Playlist 07; Song 02 and Song 03 are difficult for me to reconcile.  On my system the upright bass is heard with very fine detail and all of the complex harmonics that follow the fundamentals are clearly heard.  To me, this is a toure de force recording of upright bass made with incredibly sensitive microphones that are certainly more sensitive than many human ears.  Recently, I was making a reference recording of a new archtop guitar and testing various microphones positioned at the edge of the nearfield.  I would pluck an open string and only when I heard complete silence I would then pluck the next open string and so forth.  When I played back that recording (with gain) there was absolutely no point of silence between plucking each string because the microphones were just so sensitive.  That is exactly the kind of sensitivity I am hearing on Playlist 07; Song 02 and Song 03.  In amplifying a very fine recording, you may very well be hearing material that you would never ever hear in an audience at a live concert.  On my system and to my hearing those tracks are perfect upright bass.  Yet your comments about Playlist 08; Song 13 are spot on.  Last week some friends came to visit and we listened to this track and after 5 or so minutes first the wife started crying and then soon after so did the husband because, they said, listening to that piece of music became an emotional listening experience.

Anyway, thank you for the comments which I was very interested to hear.

With kind regards,
Peter Foster.

peter foster wrote:

I mention this because your comments about Playlist 07; Song 02 and Song 03 are difficult for me to reconcile.  On my system the upright bass is heard with very fine detail and all of the complex harmonics that follow the fundamentals are clearly heard.  To me, this is a toure de force recording of upright bass made with incredibly sensitive microphones that are certainly more sensitive than many human ears.  Recently, I was making a reference recording of a new archtop guitar and testing various microphones positioned at the edge of the nearfield.  I would pluck an open string and only when I heard complete silence I would then pluck the next open string and so forth.  When I played back that recording (with gain) there was absolutely no point of silence between plucking each string because the microphones were just so sensitive.  That is exactly the kind of sensitivity I am hearing on Playlist 07; Song 02 and Song 03.  In amplifying a very fine recording, you may very well be hearing material that you would never ever hear in an audience at a live concert.  On my system and to my hearing those tracks are perfect upright bass