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That's your call of course. Mine is that I was never much of fan of this album. To me it was like Persuasive Hispanic Percussion —a mildly interesting, percussion-heavy, high drama, swaggering entrant into the hyphen rock genre as in "folk-rock", "jazz-rock", "raga-rock" and in this case "latino-rock" or something similar.
It's the rock spirit and vibe with something grafted to the body, whether a tabla and sitar as in "tabla-rock" or lilting latino rhythm exclaimed by meaty percussion. So i paid only minor attention to the record when it first came out though I have two or three versions to which I paid very little attention Halfway through this "one step"'s side one I said to myself "This might be the best record I've ever heard". I meant by that the technical quality of the record and how much it resembles tape in four critical parameters: the wide dynamics and low bass response, the unlimited dynamic range, the tape-like sense of flow and especially the enormity of the soundstage presentation.
More importantly I got a greater appreciation for the music, the musicianship and the showmanship too. I had to refresh my sonic memory with the alternative versions I have here that include two originals, a German pressing from the s and the Columbia "Mastersound" half-speed mastered version. First of all, about half of this record is magnificently recorded and hard work would be necessary to make it sound bad but this "one step" version is mind-glowingly better than any of the other versions I have beginning with the earth shaking bass that extends to near-impossible depths, moving on to the enormity of the stage width and especially depth and the transparency and the dynamic slam plus the blackest backdrops you'll hear on a record.
Compared to this version the half-speed mastered Columbia sounds like a cassette tape. The first two sides are so spectacularly recorded and reproduced even if you're not a big fan of the music, you'll find yourself luxuriating in the sonic riches. The spectacular sound got me to listen often just for he sonic thrill, but doing so made me appreciate more the muscular music, now unleashed as never before. The louder you play it the better this record sounds and that 's something that doesn't happen that often.
The percussion explodes forward from the speakers perfectly focused with a dead-black background intensifying the picture. Instrumental textures are visceral while attack is supple yet sufficiently gritty to engage. Sustain is impossibly long and decay into black is audible down to bottom of the sonic pit, which means Carlos Santana's guitar comes to life before you as you're never before heard it—and that's not hyperbole ok, it is, but If you hear this record on your system as I do on mine and you crank it up to sufficiently realistic SPLs you'll likely exclaim a "wow" or two through side one.
I don't know much about this record's production but it takes a weird sonic turn about half way through. Sonically the first half is truly astonishing and then it head south fast as if the group got tossed from the more costly studio to one they could afford. Not saying the second half sounds bad but it doesn't sound as spacious or textural suave as the first half though it sounds better than any of the other versions. Mo-Fi retains the black foam.
The box is finished in a supple, soft matte black stock with gold leaf accents and an especially well reproduced though smaller than the standard cover image of Mati Klarwein's original artwork. Each of the two records repeats the cover motif. The records in a rice paper sleeve are each contained in an inner folded sleeve that produces a tight fit. Also inside is a generously sized cover image reproduced of course without the wrap-around required on the album cover.
Also included is a one-sheet explaining the "one-step" process. So will this limited edition record become a collectible? No doubt. Should you buy a copy to listen to and one to leave sealed?
The sound rating is especially for the first of the two records. Otherwise, not interested. Bloody hell mate. What is your problem? I for one like to hear other opinions.
Unlike your negative egotistical pointless blather. Could you comment more specifically on the other pressings you compared this to, including the German ARS? The great sound would be in the recording and the mastering engineer's work, and, of course, the cutting at 45rpm. Having to make fathers and mothers to press costs more. But having those extra steps leaves archival material.
You can always go back to them to press more records, even decades later. It's a shame you're not a fan of this album, if you were you may have had the recent 45rpm or 33rpm from Mofi to compare to. Assuming they were all mastered by Kreig Wunderlich then that would be a more informative comparison as to the gains for the one step process would it not?
Even so, my comment stands regarding the 33 cut. ST for sure. Love to hear one though out of curiosity. I agree. A comparison with the MoFi would be most educational. Like a few others here, Caravanserai might get my credit card out. High Bright Monitors. Marine Grade Monitors. Touch Screens. Contact Us. Technical Support. Subscribe to Newsletter. Call Toll Free: Email: info abraxsyscorp.
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The album is briefly mentioned in the film A Serious Manthough the film is set three years before the album was released. Price :. The music isn't really complex, but for many simpleton rock listeners, it's actually too complex. The great sound would be Impossible - Abrax (2) - Abrax (Vinyl the recording and the mastering engineer's work, and, of course, the cutting at 45rpm. Why not do Carvanseri, great Santana album and never had an audiophile reissue. Follow LP) We will also show you ways to optimize your printer environment. Visit our blog for an in depth comparison of the top five touch screen technologies. African Traditional.
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