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About Me

Found 5 results

  1. I note the extensive criticisms on engineering and business model grounds, but this is an audiophile site, so for me the real test concerns how MQA sounds to me. On the assumption I can borrow a decent compatible DAC for home demo, I've been doing some reading around in preparation. My interest is mainly classical orchestral, and I don't stream. While I don't buy in to the "vapourware" tag, what strikes me is that there does seem to be very little out there in the way of classical downloads. I count 47 titles on Onkyo Music and 134 on HiResAudio. I couldn't get into the 2l shop site, but I assume the latter include all 2l titles. Noting that these include all classical titles, not just orchestral, plus the fact that I already have some in DSD and that 2l covers fairly esoteric repertoire, my impression is that MQA, so far, is more a curiosity than a serious contender for my kind of listening. Turning to replay, I understand that there are 3 stages of "unfolding", the first occurring in the replay software prior to sending to the DAC for the remaining 2 stages. Again, there seem to be few current options here. As far as I am aware, I can't simply play an MQA file via my BDP or any of the various Win/Linux replay packages I currently use. From the MQA site it looks like I would have to use either Amarra or Audirvarna. Have I understood correctly, what is the MQA file format for example? I imagine I'll end up using the current Tidal 12 day no cc. trial instead (the BDP supports Tidal) just to satisfy my curiosity. But longer term, turning to streaming to get MQA would be, as we say, putting the cart before the horse. Am I missing something here? I also don't think the MQA site does itself any favours, I found the overview of the MQA process confusing (contradictory as to what a renderer does for example). If they really want to kickstart things, including a searcheable DB of MQA titles and a free download of replay software would get my interest.
  2. DuckToller

    Anarchist Arias - Anyone?

    Bonsoir to classic lovers and safety pins apologists ! Anyone noticed the advent of British 70's power pop into serious music, recently? BBC took a note: Sex Pistol's Glen Matlock on The Anarchy Arias with the Royal Philharmonic Cheers, Tom
  3. Hi guys, thought you might like to know that SongKong (and Jaikoz) can both now autoupdate the new iTunes Work, Movement (name, no, total) fields, we write about it together with a screencast tutorial at http://blog.jthink.net/2016/12/updating-itunes-work-and-movement.html also we done have a lot of work on treating Classical releases specially, we are very open to user feedback so if you have an idea for where things could get work better or you have a wishlist of things you would like a tagger to do and don't know of any tagger that does it please let us know either here or on the Jaikoz/SongKong forums at Jaikoz and SongKong Forums
  4. While listening on my iPhone to an album of French classical songs recently downloaded from iTunes, Néère, sung by Véronique Gens, I noticed that the composer’s name was appearing along with the information that normally scrolls across the screen under the name of the album. This was something I had never seen before, but so often wished I could see. And not only was the composer’s name visible, but it was in the naming format I use to tag the songs in my carefully curated iTunes library; Duparc, Henri (for example). What’s this, I thought, has iTunes heard my call? So I selected another album, one that had been in my library for a longer period, to see if the composers’ names were visible there. They were not. So then I wondered why the composers’ names were showing in the album just downloaded, but not in one downloaded (or possibly ripped), from further back in time. To find the answer, I needed to go to my desktop iMac, open few song files and compare the info within. And sure enough, there was a checkbox I hadn’t seen before: Show composer in all views All the songs in the Véronique Gens album had this box checked, while none of the pre-existing songs in my library had the box checked. You can bet they are checked now! I cannot overstate the difference this little box will make to my enjoyment of listening to classical music via iTunes. Take the Véronique Gens album: Three different composers are represented. One of the composers, Renaldo Hahn, is new to me and all the song titles are in French. It’s not a problem if all the music on the album is by one composer, Bach, say. But here I need to know which composer I am listening to from track to track. For classical listeners, the composer’s name is of paramount importance, taking precedence over the track and album names. The composer's name is our first point of reference. Until now, portable devices have not been able to display this information. The only way to find it was to open up the digital booklet in a different app, if one was available – and usually there wasn’t – or go to the desktop and look up the information in the song or album listing, where it can be revealed on the big screen. So, amidst all the noise and fury over iTunes becoming too complicated and losing its orignal focus as an app for listening to music, I would like to say: THANK YOU, APPLE! You are listening to us after all. And the fact that newly purchased albums have the ‘Show composer in all views’ box checked by default reflects Apple’s understanding of how important this is to some of us.
  5. Computer Audiophile users can get 25% off The Venetian Concertos on HDtracks using code CPUVENICE[h=2]"It's a marvelous re-thinking of an old form that really works and is contemporary music for those who don't like contemporary music." - KPBX Classical Radio[/h] David Chesky's newest radically original powerful compositions, The Venetian Concertos, are a tribute to the classic Italian Concerto Grosso form. Chesky uses his fondness for the Baroque as a starting point. However, influenced and inspired by Brazilian, Urban, and Latin music, he then replaces the Baroque line contour with dense chromatic polyphony. The collision of styles creates a powerful new definition of the Orchestral Concerto form, one which embraces a more contemporary and relevant approach to both counterpoint and energy. Track Listing Venetian Concertos No. 3 Track 1: Movement 1 (5:27) Track 2: Movement 2 (4:36) Track 3: Movement 3 (3:42) Venetian Concerto No. 1 Track 4: Movement 1 (6:04) Track 5: Movement 2 (5:22) Track 6: Movement 3 (4:11) Venetian Concerto No. 2 Track 7: Movement 1 (6:33) Track 8: Movement 2 (6:17) Track 9: Movement 3 (3:59) Venetian Concerto No. 4 Track 9: Movement 1 (5:41) Track 10: Movement 2 (6:06) Track 11: Movement 3 (4:03)
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