ONE Sonoma Music Released

Finally! After nearly a year of work the ONE Music project is ready. And it turned out great. In fact, it is the single best demo disc I have in my library – bar none. If you haven’t heard of the project and why we started it, let me tell you.

There’s a very sad situation in music today. Musicians aren’t able to earn enough money at their craft and quality studios are going bye, bye. We are determined that not happen, so, we formed an alliance with SACD mastering engineer Gus Skinas, PS Audio, and Sean McGowan. Our mission is to turn the tables on the financial models of how musicians, recording engineers, and mastering experts are compensated, by giving the majority of revenue to the musicians. Every copy sold benefits musicians and engineers.

We’ve assembled 10 tracks that Gus and I hand picked on the IRSV in Music Room One. Gus was so excited at how great these sounded he came though our front door babbling “you have to hear these!”. Just amazing, and that’s just the PCM layer.

Wait until you hear the DSD layers!

Head here for samples of the music and the whole story. It’s a limited edition–$45 for the two-disc set and download, $35 for just the download. When the 2-disc sets are gone, we may or may not print more. The set includes an SACD as well as a DVD with high res PCM and DSD on it.

The profits are split amongst the musicians, and some to those that created the recordings. We take a very small cut to reimburse our original investment. It’s both a worthy cause as well as one of the best sounding demo discs you’ll ever hear. Trust me – this is one you want to own.

We make this available to our customers around the world, though we haven’t yet been able to add EU countries, which should happen soon, so please check back.

Buy the SACD or Download

A new transport

Have you been reading Paul’s Post? We’ve covered the sneak peek of the new transport  natural filters, why the infamous Myer Moran test is flawed, what’s is it to be an audio snob, how to order a hand signed BHK preamp, how stereos are optimized for either vinyl or digital and what that means to us, the Live Myth, Mastering limitations, and much, much more.

Wanna to stay up to date with the latest news and info? Click on the link to sign up for Paul’s Daily posts.

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Copper Magazine

Issue 3 , Issue 4, and Issue 5, of Copper have all published since our last newsletter. Copper’s growing in popularity and hopefully you’ve had a chance to read our free online magazine about music and audio.

In Issue 5, Seth Godin writes about the joys of teetering on the edge of control. Richard Murison samples the subject of sample rates. Dan Schwartz looks back at his development as a professional bassist, and his part in a legendary recording. Lawrence Schenbeck revisits the concept of The Shock of the New, as it applies to music. Duncan Taylor wraps up his piece about being behind the glass with Greensky Bluegrass. WL Woodward considers another lynchpin year in music and society, 1968. Bill Leebens looks at the legendary audio manufacturer AR, and an evil little secret that many share but don’t talk about, and the legendary/infamous/widely-feared, former TAS reviewer AGB, Andrew Benjamin, makes his first appearance in Copper.

Sign up for Copper today and enjoy a whole different type of magazine.

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Greatest solo musician

I assume not many of us are into accordion music. In fact, count me as one of those people who never gave the instrument a second thought and associate it more with German Beer and drinking music than Vivaldi.

All that changed after watching this video of what’s being called the greatest accordion player in the world.

Watch the video


Do CDs sound better?

In 1968, a 23-year-old audio engineer named Bob Ludwig at New York’s A&R Recording was asked to create a test pressing of The Band’s debut, Music From Big Pink, so that the producers could hear what it would sound like on LP. During the process, he especially tried to preserve as much as possible of the deep low end of the band’s sound, which he believed was critical to its music.

But when he heard the final LP that was released, he was stunned. “All the low, extreme low bass that I knew was there, was chopped right off.”

Of vinyl’s inherent deficiencies, reproducing bass is one of its most glaring. The other is that the last track on each side of a record sounds worse than the first, due to the fact that the player’s stylus covers fewer inches of grooves per second as it gets closer to the center.

“The vinyl disc is a steadily collapsing medium,” says Ludwig, who went on to become a Grammy-winning mastering engineer, with credits on Patti Smith’s Horses, Steely Dan’s Gaucho and White’s Lazaretto, among many others. “The closer it gets to the label, the more the information is getting compromised, the high frequencies getting lost.”

Read the article

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