[ LOGIN/REGISTER ]   [ MY ACCOUNT ] Items in the shopping cart: 0    Current total: $0.00
Left space
<br>Columbia<p>How Did Such Great Sounding Records Get Made with Such Bad Equipment?</p>


How Did Such Great Sounding Records Get Made with Such Bad Equipment?

When I play Columbia jazz recordings from the ’50s and ’60s by the likes of Brubeck, Ellington, Miles and other jazz giants, what strikes me most is how natural, warm and sweet the sound is. I was playing an old mono Ellington record a few years back and when the clarinet solo came in, it almost took my breath away. The sound of the instrument was so real. This from a mid-’50s run-of-the-mill Columbia pressing. Those guys (the engineers and the musicians) knew what they were doing.

Sku # : columbia

We also suggest


Tell Us More About "Hot Stampers"

Straight Answers to Your Questions

Product Detail

Sometimes when I read about the extraordinary lengths modern audiophile-oriented engineers have gone to in order to use state-of-the-art equipment -- custom microphones, tape recorders, wire, and the like -- it begs the question most on my mind as a serious record collector: How did so many of the best sounding records in the history of the world manage to be recorded without any of that stuff.

RCA didn't need it for their Living Stereos. Decca didn't need it. Contemporary Records managed to record many of the best sounding jazz records I've ever heard without it.

How did all those great sounding records get made with such bad equipment? I have yet to hear a sensible answer to this rather obvious question.

Right right-line