Before they are gone

November 20, 2021
 by Paul McGowan

Octave Record’s vinyl releases seem to go pretty quickly. We sold out of the Gabriel Mervine in a matter of hours (what a spectacular recording!).

As I have mentioned in earlier Paul’s Posts, there’s something very magical about what happens when we go from the DSD master to the vinyl cutting lathe. I truly wish I could tell you I understand it, but alas, I do not. But I sure hear it!

In any case, just know that the original Octave SACD release, Don Grusin’s Out of Thin Air, is gone (though will always remain available for download) and the limited edition vinyl is nearly gone.

And, on that same note (pun intended), the vinyl of Temporary Circumstances, (“it’s simply amazing! It’s like I’m right in the studio with the band! Excellent music on very, very good vinyl. Make sure to order one of these before they are gone!) is down to just under one hundred copies.

If you’re into vinyl, here’s your chance to own something great.

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29 comments on “Before they are gone”

  1. **From yesterday’s PP**
    Everlasting life in some sort of paradise (Heaven) definitely sounds to good to be true 😉

    All ‘Octave Records’ CD’s to Australia are still not able to be shipped due to postal service deficiencies & limited air flights.
    I’m hoping that I’ll have my Gabe Mervine CD by December 23rd (fingers crossed emoji)

  2. New VAT-regulations between the U.S./UK/Japan and the EU make vinyl-imports pretty expensive. I missed out the Gab Mervine vinyl, but I’m happy with the CD, too.

    Will there be a possibility, that you already invoice the VAT on your site? Some sellers on Discogs do that. Otherwise DHL wants 6 more Euros for advancing VAT…

    Best regards!

    1. There is a UK PS Audio dealer who is selling these discs and vinyl. He’s charging double the PS Audio list price, some of which is tax and duty. The Mervine vinyl is still available, and the Bailey CD, but by the time you’ve got them they will have cost you US $135.

      1. Thank you, Steven. I found that seller. Prices are pretty spicy. Given the good sound of the SACD an the limited space for more LP’s in my living room, I’ll stay with the CD and watch out for the next Jazz-LP from Octave Records. 😀

  3. „As I have mentioned in earlier Paul’s Posts, there’s something very magical about what happens when we go from the DSD master to the vinyl cutting lathe. I truly wish I could tell you I understand it, but alas, I do not. But I sure hear it!“

    ——————————-

    I think, technically, even when it’s of the quality that the bass of the vinyl rig sounds more controlled than the one of the digital rig and not blown up, the magic as well as the perception of better dynamics must have to do with added (positively effective) distortion by the cutting, playback and phono amplification process. I think we know similar results from the use of tubes.

    As I suggested in earlier posts: our source signals/recordings may be still not good enough, that their most accurate processing would be optimal in terms of the final sound quality experience. Probably the use of a truly distortion-less speaker would need heavy tube use at another part of the chain, to give use satisfying sound. 😉

    That digital can record this assumed vinyl process distortion and play back at least part of this „magic“, makes sense. Only „part“ of it, as in the additional digital recording/playback process, as always, something certainly again gets lost. This is also why imo the idea of a DSP “vinyl emulation setting” wouldn’t work.

    One would now certainly say, if still needed or preferred, better not add the distortion at the beginning of the chain/playback process. But that’s exactly what we already do when using tube mic’s, which still seems to produce the best recordings today with an effect that can’t be reached at a later stage.

    My temporary conclusion of the observation, that the best audio playback seems still reached by using theoretically non-perfect gear at several stages of the chain, is, that we are not far enough with what we can capture from the live event, so that perfect processing would lead to best sound…or…that even the original sound experience without the optical experience of a concert isn’t as convincing at home even when played back perfectly, and still needs to be pimped up a little to convince us. Just like a non photoshop’ed photo of a landscape isn’t always very impressive…because the pure capture is not yet close enough to the live experience.

    1. Your comment is so intricate I’m wondering about your thought process to arrive at this massive multi faceted kluge to arrive this possible conclusion because I sure don’t understand or follow you’re possible explanation.and temporary fix that Paul doesn’t seem to understand himself.

  4. I have no issue believing Paul’s observation.
    What bothers me is the not knowing why or the investigating to find out why.

    One could draw a conclusion that recording in Digital PDM format, then converting to analog for mixing and converting back to PDM ( and once more to analog for the cutting lathe? ) is as many digital conversions that can be allowed for the best sound quality. Any other conversion to analog must be loaded with some inherent error. Either that Or the playback and subsequent amplification of that digital signal is inherently flawed.

    Another conclusion could be that PDM recording and the subsequent vinyl creation is the ‘grail’. The caveat being the final analog signal needs to be derived from a mechanical moving device.

    The irony being most all chased (and still are? ) the digital playback side when digital should have been perfected long ago on the recording side?

    1. Mike, I’m lost with all of the surmising in this morning’s comments. It’s probably because I know so little about the recording process especially when multiple formats have to be used to create a vinyl recording from a DSD source that sounds like the ‘Holy Grail’.

      For the first time in a long time I’m beginning to think that there is a place for The Audioholic to get involved in a project to find out what’s going on that prove these convoluted production procedures with quality measuring instruments to verify your theories.

      1. Stimpy2

        Me personally, I haven’t drawn any conclusion from any kind of a personal comparison of the digital master reproduction to the vinyl reproduction of the same master.

        The conclusions I drew (so far) are simply from what has been written and passed on to us.

        Me personally I’m not jumping on any bandwagon, but rather sticking with what I have for digital playback. No cleaning, no special handling, no aligning, no over the top mechanical rigs. Over 1/2 a years worth of continuous play (assuming 8 hrs of sleep a day) without getting up every 22 min or so – or every 45 min to an hour or so for disc swapping- The ability to shuffle all the files so I don’t hear the same artist for a duration. Since I’m not a recording specialist or a manufacturer trying to sell, but rather a bottom of the heap music appreciator who happens to like technology and equipment, then all of this is for those who have a larger passion than I. It’s all still interesting and fun.

        If all is as described, then it seems to me a new type of playback machine could be developed. Call it the Grail? Something that takes a cutting lathe type of signal, converts it to mechanical movement and then that movement is picked up by a ‘standard’ cartridge. It eliminates the petroleum based storage medium.

        Measurements have a place, but they also have to correlate to what we hear.

        On a lighter note:
        It’s getting close to Thanksgiving and the annual family tradition of listening to
        Alice’s Restaurant Massacree…. ✌️ 😀

                1. gw,
                  As an outsider (Australian) my ‘vote’ doesn’t count anyway.
                  However, both Bannon & Hump have shown the world what completely narcissistic arseholes (assholes) they really are…so “it doesn’t take a brain surgeon…” 🙂

                  Still, it could be argued that it takes a narcissistic arsehole to successfully run a superpower country, just look at China & Russia & also Nth Korea & Belarus…I’m just sayin’.

        1. When I use the name Audioholic it was because I was throwing my hands up in the air as that would be my last course of action based on the fact that measurements are better used by designers and troubleshooters for the most part and John Atkinson does an admirable job of measuring the equipment that Stereophile reviews. IMO these measurements uber alles videos are an overkill and draw a huge crowd of people who think that they are experts in interpreting these measurements when they have no idea of the designer had in mind to accomplish their own ideas. I had it out one day with the Audioholic because I just don’t like his smug attitude and he makes his videos looki like he’s broadcasting from Lawrence Livermore.

          At any rate you have enlightened me as to why you posted your comment from another persons theories.

          Happy Thanksgiving to you and yours Mike

        2. When I use the name Audioholic it was because I was throwing my hands up in the air as that would be my last course of action based on the fact that measurements are better used by the designers and troubleshooters for the most part and John Atkinson does an admirable job of measuring the equipment that Stereophile reviews. IMO these measurements uber alles videos are an overkill and draw a huge crowd of people who think that they are experts in interpreting these measurements when they have no idea of what the designer had in mind to accomplish their own ideas. I had it out one day with the Audioholic because I just don’t like his smug attitude and he makes his videos looking like he’s broadcasting from Lawrence Livermore.

          At any rate you have enlightened me as to why you posted your comment from another persons theories.

          Happy Thanksgiving to you and yours Mike

  5. Paul, I understand the logic behind a limited edition vinyl pressing. I’m a little in the dark about why the SACD isn’t being reissued. The sales would certainly help the artist not to mention Octave, eh?

    1. Yes, you’re right and perhaps as we grow and get our feet firmly planted under us we might do something like that. The problem is that we have a minimum order with Sony. We can’t just order “some” and they are expensive. So, we would have to order another 1,000 and I am not sure we would be able to sell them in a reasonable amount of time.

      We are learning.

  6. Just order both the LP and SACD. Will try to do some shoot-out listening in the near future, but ( hopefully ) thing will be busy this next week with Thanksgiving and lots of football. 😀

    With respect to why vinyl sounds better than an SACD made from the same recording I personally think it has to be something to do with the RIAA equalization and perhaps the act of lacquer cutting. The reason why I say this is because I have heard the difference between vinyl and SACD for about twenty years. During this time I have had two different TT’s, three different tonearms, four different cartridges ( from two different brands ) and two slightly different phono preamps and with and without the use of a SUT. So this tells me it is not the vinyl playback system that causes the difference.

    On top of this I have a TASCAM DSD recorder that I use to make DSD needle drop recordings of my vinyl and the vinyl “magic” is captured when I make those DSD recordings.

  7. I am privileged to have managed to secure all three of the Octave records vinyl releases. In fact I am listening to Don Grusin which sounds beautiful. As does the Gabriel Mervin record. I have yet to listen to Clandestine Amigo’s record. As for shipping from the US to the UK. I paid what was listed on the PS Audio website. The only downside in shipping across the pond is that it takes a long time to reach me. But we’ll worth the wait.

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