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ponkine

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  1. http://www.blabbermouth.net/news/carl-palmers-elp-legacy-live-to-be-released-in-june/ CARL PALMER's 'ELP Legacy Live' To Be Released In June May 15, 2018 6 Comments FacebookTwitterPinterestRedditMore16 A new, two-disc digipack release from Carl Palmer, perhaps one of the most highly rated drummers in the world alive today and sole surviving member of prog rock giants EMERSON, LAKE & PALMER, will be released by BMG on June 29. "Carl Palmer's ELP Legacy Live"encompasses two outstanding CARL PALMER'S ELP LEGACY shows captured on CD and DVD and presented in a deluxe booklet with sleeve notes by Carl Palmer. "Live In New York 2014" CD: Recorded on November 25, 2015, this masterclass of a performance includes a full-length version of ELP's "Tarkus" played alongside "Mars", "Toccata and Fugue in D Minor", "The God Of War / 21st Century Schizoid Man", "Knife-Edge", "Trilogy" and more, performed before a sell-out crowd at New York's Tralf Music Hall. "Pictures At An Exhibition - A Tribute To Keith Emerson Live Miami 2016" DVD: A two-hour long complete and spectacular tribute show to Keith Emerson, featuring special guests Steve Hackett (GENESIS), Mark Stein (VANILLA FUDGE) and David Frangioni. Recorded at Olympia Theater Miami on June 24, 2016, the show includes much-loved ELP classics such as "Bitches Crystal", "Hoedown", "Karn Evil 9 (Welcome Back My Friends)", "Romeo & Juliet", "Fanfare For The Common Man", "Jerusalem" and "The Barbarian". CARL PALMER'S ELP LEGACY was formed in 2001 and comprises Carl Palmer alongside the prodigal talents of Simon Fitzpatrick on guitar and Paul Bielatowicz on bass. This power trio are taking classic ELP works and reconstructing them with drums, bass and guitar rather than replicating the unique keyboard/synth work of the great Keith Emerson. The lineup injects new life into both ELP and ELP-related favorites such as "Hoedown", "Peter Gunn", "The Barbarian", "Knife-Edge", "Pictures At An Exhibition", "Lucky Man", "Fanfare For The Common Man" and KING CRIMSON's "21st Century Schizoid Man". "It's metal prog-rock playing EMERSON, LAKE & PALMER," Carl says. "It's original and unique, and that's important to me." The trio's dynamic live show has proved a triumphant success with sold-out world tours, festival appearances and rave reviews. Crowned "Prog God of 2017," Carl Palmer is taking the ELP legacy forward throughout 2018 in new directions, while showcasing his immeasurable talents as one of the great technical drummers alive today. Says Carl: "My philosophy is very simple: if I keep on improving, which I am at the moment, or I can't improve but can maintain a standard, then I will carry on. The minute I can't do that, then I'm gone." CD: "Live In New York 2014" - Tralf Music Hall Buffalo, New York, U.S.A., November 25, 2014 * Rondeau Des Indes Galantes / Ride Of The Valkyries * Toccata And Fugue In D Minor * Mars, The God Of War / 21st Century Schizoid Man * Tarkus (Full Version) * America * Knife-Edge * Trilogy (Short Version) CD running time: 48 minutes. CD album previously unavailable digitally DVD: "Pictures At An Exhibition - A Tribute To Keith Emerson" - Olympia Theater, Miami, Florida, U.S.A., June 24, 2016. Special Guests: Steve Hackett, Mark Stein and David Frangioni 01. Introduction 02. Peter Gunn 03. Karn Evil 9 (Welcome Back My Friends) 04. The Barbarian 05. Bitches Crystal 06. Jerusalem 07. Romeo & Juliet 08. 21st Century Schizoid Man 09. Clair De Lune 10. Knife-Edge 11. Hoedown 12. Take A Pebble 13. Carmina Burana 14. Pictures At An Exhibition 15. Fanfare For The Common Man / Drum Solo 16. Nutrocker Bonus footage: 17. Behind The Scenes At The Tribute For Keith Emerson DVD running time: 2 hours 4 minutes
  2. En general, estos suelen ser los buenos! Cuando son CDs "verdes" y que apenas sale el nombre del artista. Todos los SHM buenos que he comprado son así
  3. Jajaja Yo soy un clásico en todo sentido. Si bien tengo sólo 38, crecí con todos los elementos tecnológicos separados Para ver TV ... una TV Para escuchar música ... el Hi Fi de mi padre, con sus audífonos grandes incluídos Para escribir en computador ... un computador Para hablar por teléfono ... el teléfono Para fotos ... una cámara Y así me he acostumbrado al día de hoy. Tengo el celular más humilde, pero que cumple bien su función. Un Alcatel. Punto. El primer y único iphone en mi vida me lo regaló mi cuñado. Ni siquiera tengo plan, sólo uso prepago. No me interesa andar en la calle "whasapeando" ni tomándome selfies Llevo mi cámara para tomar fotos en lugares y momentos especiales
  4. ponkine

    High End Munich 2018

    Les presento los parlantes más hermosos de la historia en el mundo para los queridos foreros Los "minions"
  5. ponkine

    High End Munich 2018

    Amigo, sé que ud ama los Horns por sobre todas las cosas Sí, he escuchado y muchos. Incluyendo los de nuestro insigne forero Joaco Lea mi post. Hablo del diseño, no del sonido. Y al menos en diseño, esos parlantes son asquerosamente horribles. Realmente ni soñando ni esforzándome al máximo podría llegar con diseños tan deplorablemente feos. Como reitero, solo un showoff para aumentar el ego (ya infinitamente grande) de sus productores y creerse la creme de la creme de la vanguardia por el hecho de hacer esas horripilancias que le llaman parlantes. No por que sea un horn uno tiene que prenderles velitas y hacerles culto ciego. Pueden sonar exquisitos, pero visualmente esos parlantes son asquerosos. Me recordó los peores diseños de Gibson en cuanto a lo feos
  6. ponkine

    High End Munich 2018

    Puede que suenen como los dioses Pero los diseños son un asco. Un puro showoff para mostrarse que ellos son los "diferentes" y "vanguardistas". Al final los que tanto se creen "vanguardistas" terminan haciendo lo mismo que todos: diseños ridículos para parecer únicos. Y los que hacen parlantes con diseños sobrios, bonitos y realmente elegantes y atractivos terminan siendo los distintos, los que marcan la diferencia.
  7. Una verdadera lástima Tengo en mi colección muchos Audio Fidelity, que pasaron a ser sin duda alguna las mejores ediciones jamás lanzadas en CD de tantos títulos clásicos. Entre los audiófilos habían comenzado a haber rumores, puesto a la escasa (casi nula) actividad en cuanto a lanzamientos en el último año. Y ojo que algo similar está anconteciendo con MFSL. Por ejemplo, hace rato (mediados del año pasado) que debieron haber salido los prometidos MFSL SACD de Dire Straits, y aún nada. Ojalá no sea el principio del fin para los sellos audiófilos. Han habido algunos que han muerto en el pasado (el más notable DCC Gold) pero luego de ello han surgido otros, como lo fue el mismo Audio Fidelity, que pasó a reemplazar a DCC Gold
  8. Dear Music Lovers: After much deliberation and much back and forth, I have decided to wind down Audio Fidelity. It was a very, very difficult decision. It has been a great 17 year run with Audio Fidelity. Looking back, we have been fortunate to work with so many great artists. These recording stars have trusted us with their music and have applauded the quality of our albums and CDs. I’m grateful to Cosby, Stills & Nash, Phil Collins, Elton John, Stevie Wonder, Simon & Garfunkel, Kate Bush, Sade, Bob Dylan, Eric Clapton, Jethro Tull, the Doors, Deep Purple, Yes, Cat Stevens, James Taylor, Linda Ronstadt, The Grateful Dead, Dio, Billy Joel, Santana, Rush, Alice Cooper, The Beach Boys and many, many, many more along with their managers and representatives. Many of our original soundtracks such as Blade Runner, Tron were among our most successful releases. So many great titles, so much great music. I want to give a special thanks for the support that our 24K Gold, Vinyl and Platinum Club Members have given us these many years. Your support, encouragement, suggestions have been very important to our success. I look back with enormous pride to be able to work with Steve Hoffman (again) Kevin Gray (again) and Stephen Marsh. We were always on the same page with our goal to create the best sounding remasters. Our goal was to enhance the sound…never to change it. I am certain that the Audio Fidelity catalog will stand the test of time. It’s time to move on. There are other passions and projects that have my interest. We have made an arrangement with Bob Bantz of Elusive Disc to handle all current inventory. He will take care of all your CD, SACD and vinyl needs. The Vault will remain open on the Audio Fidelity website for a short period of time. I’ve given our archives and collectible titles to two of our employees, who will keep the Vault and the collectibles available to you until they are sold out. I want to thank you all of you for your suggestions and your support over the last 17 years. It’s been a nice ride and I’m glad that you were able to ride along with me. Will the bug bite me again? I can never say never but for now I want to thank you for allowing us to have shared with you the music we love. Marshall
  9. Que lata que sean puras app y tonteras Debiese ser cualquier servicio online y punto. Desde un computín o cualquier smartphone Y ojalá ahora sí Buscalibre dejen de aforrar el palo
  10. http://www.superdeluxeedition.com/news/eric-clapton-life-in-12-bars/#more-139439 Includes four previously unreleased tracks and two alternate mixes A new Eric Clapton documentary Life In 12 Bars (Directed by Oscar-winner, Lili Fini Zanuck) has prompted a new two-CD (and 4LP vinyl) soundtrack which spans Clapton’s long career and includes selections from many of the acts he worked with, including The Yardbirds, John Mayall’s Bluesbreakers, Cream, The Beatles (!), and Blind Faith. The 32-tracks include five previously unreleased selections.From the Cream era there is a version of Spoonful, an incredible 17 minute tour-de-force, recorded live at the LA Forum in October 1968 during the group’s final US, Goodbye tour. There are two from Derek and The Dominos – firstly a recording of High, originally recorded during the 1971 sessions at Olympic Studios for their unreleased 2nd album. This track was later revisited and re-recorded for Eric Clapton’s 1975 album, There’s One In Every Crowd. Secondly, the track Little Wing, a tribute to Jimi Hendrix, recorded live during the Domino’s late set at The Fillmore East on 24th October 1970. Life in 12 Bars also includes two previously unreleased Eric Clapton tracks from 1974; the first ever release of the entire full length recording (6′ 54″) of Bob Marley’s I Shot The Sheriff, recorded during the sessions for 461 Ocean Boulevard and a live performance of Little Queenie, the Chuck Berry rock ‘n’ roll classic, recoded at Long Beach Arena, California in July 1974 during Clapton’s comeback tour to promote 461 Ocean Boulevard. In addition, there are two alternative mixes made for Eric Clapton’s 1970 debut album. Separate mixes were made for the album, by Delaney Bramlett and Tom Dowd (in LA) and also by Clapton himself (in London). Featured in this collection are Clapton’s rare mixes of album highlights, After Midnight and Let It Rain. It’s very unusual for Beatles tracks to end up on these kinds of compilations, but While My Guitar Gently Weeps does indeed feature here, as does George Harrison’s My Sweet Lord. This looks like a very well compiled collection and while we wait for the vinyl pre-order links, in the UK you can snag this right now for just £8.74. What a bargain. Life In 12 Bars will be released on 8 June 2018. COMPARE PRICES AND PRE-ORDER VARIOUS ARTISTS LIFE IN 12 BARS - 2CD EDITION SHOP PRICE GBP STOCK Amazon uk 8.74 PRE-ORDER Amazon it 18.66 PRE-ORDER JPC de 19.00 ORDER CURRENCY:GBP USD EUR CAD AUD JPY Disc: 1 1. Big Bill Broonzy: Backwater Blues (4.07) The Big Bill Broonzy Story 1957 2. Muddy Waters: My Life Is Ruined (2.38) Chess single 1953 3. Muddy Waters: I Got Mojo Working (4.28) Live At Newport Jazz Festival 1960 4. The Yardbirds: I Wish You Would (2.19) – studio version 5. The Yardbirds: For Your Love (2.30) For Your Love 1965 6. John Mayall & The Bluesbreakers: Steppin’ Out (2.29) John Mayall Bluesbreakers with Eric Clapton 1966 7. John Mayall & The Bluesbreakers: All Your Love (3.37) John Mayall Bluesbreakers with Eric Clapton 1966 8. Cream: I Feel Free (2.57) Fresh Cream 1966 9. Cream: Strange Brew (2.50) Disraeli Gears 1967 10. Cream: Sunshine of Your Love (4.12) – studio version 11. Aretha Franklin: Good to Me As I Am To You (3.58) Lady Soul / Recorded on December 16 and 17, 1967 12. Cream: Crossroads live (4.18) Wheels Of Fire / Recorded 10 March 1968 at Winterland, San Francisco, CA16 13. The Beatles: While My Guitar Gently Weeps (4.45)The Beatles / Recorded 5-6 September 1968 14. Cream: Badge (2.48) Goodbye / Recorded October 1968 at IBC Studios in London 15. Cream: White Room live (5.41) Live Cream II / recorded October 4, 1968 at the Oakland Coliseum Arena 16. Cream: Spoonful (17.27) live from Goodbye tour – LA Forum October 19, 1968 previously unreleased 17. Blind Faith: Presence Of The Lord (4.52) – studio version Disc: 2 1. Delaney & Bonnie & Friends featuring Eric Clapton: Comin’ Home (7.51) Live at Fairfield Halls 2. Eric Clapton: After Midnight (3.25) alternate mix from Eric Clapton (first album) 1970 3. Eric Clapton: Let It Rain (5.00) alternate mix from Eric Clapton (first album) 1970 4. Derek and The Dominos: High (3.10) (Olympic Studios, April 1971) Derek and The Dominos album previously unreleased 5. George Harrison: My Sweet Lord (4.44) All Things Must Pass 1970 6. Derek and The Dominos: Thorn Tree In The Garden (2.55) Layla & Other Assorted Love Songs 1970 7. Derek and The Dominos: Nobody Knows You When You’re Down And Out (5.01) Layla & Other Assorted Love Songs 1970 8. Derek and The Dominos: Bell Bottom Blues (5.08) Layla & Other Assorted Love Songs 1970 9. Derek and The Dominos: Layla (7.10) Layla & Other Assorted Love Songs 1970 10. Derek and The Dominos: Little Wing (6.11) Live At The Fillmore 1970 11. Derek and The Dominos: Got To Get Better In A Little While (6.05) – studio version 12. Eric Clapton: I Shot The Sheriff (6.54) previously unreleased full length version from 461 Ocean Blvd 1970 13. Eric Clapton: Little Queenie live (6.00) Long Beach Arena, Long Beach, California, July 19/20, 1974 previously unreleased 14. Eric Clapton: Mainline Florida (4.08) 461 Ocean Boulevard 1974 15. Eric Clapton: Tears In Heaven (4.31) – studio version
  11. Sip eso estaba pensado. Como entrega 220 no podría "automática" o "mágicamente" convertir a 110 para entregar al equipo
  12. Sorry! me confundí. Tiene que ser Step Down en bichito. Para así entregarle 110 al equipo que es de 110 A ver si alguien tiene uno por ahí! Ví este hilo acá en el foro. No son caras de traer estas Zapatillas Weiduka. ¿Es llegar y enchufar un equipo de 110?
  13. Ideal uno que no meta ruido y que también sea liviano y transportable! Pucha, no soy de la Gran Capital
  14. Hola amigos! Necesito datos de un buen transformador BBB ( y le agregaría L de Liviano, no esos mastodontes de 10 kilos) que pueda convertir de 110 a 220, y que tenga de 750 watts para arriba. He visto muchos por ahí, pero todos hacen "step down" de 220 a 110. No me sirve, necesito lo contrario, que me haga de 110 a 220. ¿Algún buen dato?. ¿Algún DIY entre uds que haga? Saludos!
  15. https://www.planetrock.com/news/rock-news/pink-floyds-pulse-gets-remastered-180-gram-vinyl-re-release/ Share on Facebook Share on Messenger Share on Twitter Pink Floyd’s 1995 quadruple live album ‘Pulse’ is being reissued later this spring. 23 years after the original album debuted at no.1 on the UK album chart, ‘Pulse’ is being re-released on heavyweight 180-gram vinyl on Friday 18th May. Remastered from the original tapes by James Guthrie, Joel Plante and Bernie Grundman, the lavish 4-LP set boasts four different inner sleeves, each inside individual outer sleeves, plus a 52-page hardback photo book. The whole package is all encased in a thick card slipcase. Aubrey Powell of Hipgnosis and Peter Curzon, who worked on the original art with the legendary late Hipgnosis co-founder, Storm Thorgerson, recreated the art package. Originally released in May 1995, ‘Pulse’ is compiled from various performances on Pink Floyd’s The Division Bell Tour across the United Kingdom and Europe. Featuring David Gilmour, Nick Mason and Richard Wright, the album includes ‘The Dark Side of the Moon’ performed in full live, as well as a whole side dedicated to the show’s encore. The ‘Pulse’ track-listing is as follows: LP1 Side One Shine On You Crazy Diamond (Parts 1-5, 7) Astronomy Domine What Do You Want From Me LP1 Side Two Learning To Fly Keep Talking Coming Back To Life LP2 Side One Hey You A Great Day For Freedom Sorrow LP2 Side Two High Hopes Another Brick In The Wall (Part Two) One of These Days LP3 Side One The Dark Side Of The Moon Speak To Me Breathe (In The Air) On The Run LP3 Side Two The Great Gig In The Sky Money LP4 Side One Us And Them Any Colour You Like Brain Damage Eclipse LP4 Side Two Encores Wish You Were Here Comfortably Numb Run Like Hell
  16. https://www.dgmlive.com/news/Live%20In%20Vienna Live In Vienna, December 1st, 2016 is a new 3-disc set by King Crimson. Featuring a rendition of Fracture, one of the most acclaimed KC compositions and last performed live in 1974, the three-disc set will be released on April 6th and is available for pre-order now. Inner Knot (USA) and Burning Shed (UK & EU) Mixed from the original multitracks discs one and two feature the complete first and second sets from the evening’s show. Disc three includes a series of soundscapes edited into newly sequenced pieces. Drawn from the introduction music (composed/improvised afresh for each night) & featuring Robert Fripp, Mel Collins & Tony Levin, this essential component of current live KC shows also receives its most complete presentation to date. In addition, the third disc includes the long awaited live recorded debut of Fracture by the 2016 line-up as performed in Copenhagen. Disc One:
First Set: (Vienna, 2016)
 1 Walk On: Soundscapes: Monk Morph Music Of The Chamber
 2 Hell Hounds of Krim
 3 Pictures of a City
 4 Dawn Song
Suitable Grounds for The Blues
 5 VROOOM 
6 The Construkction of Light
 7 The Court of the Crimson King
 8 The Letters 
9 Sailors’ Tale
 10 Interlude
 11 Radical Action II
 12 Level V Disc Two:
Second Set: Vienna, 2016 
1 Fairy Dust Of The Drumsons
 2 Peace: An End
 3 Cirkus
 4 Indiscipline
 5 Epitaph 
6 Easy Money
 7 Devil Dogs of Tessellation Row
 8 Red 
9 Meltdown
 10 Larks' Tongues in Aspic Part Two
 11 Starless Disc Three: Encores and Expansions 1 Fracture 
 2 Heroes
 3 21st Century Schizoid Man
 4 Schoenberg Softened His Hat
 5 Ahriman's Ceaseless Corruptions 
6 Spenta's Counter Claim Mel Collins: Saxes & flute
 Robert Fripp: Guitar & keyboards Tony Levin: Basses, stick, voice
 Pat Mastelotto: Drums, Gavin Harrison: Drums 
Jakko Jakszyk: Guitar & voice
 Jeremy Stacey: Drums & keyboards Presented in a 4 fold-out digifile package with 16 pages booklet featuring tour photos & notes by David Singleton & housed in a slipcase 
At first glance, documenting King Crimson would appear to be fairly straightforward: record everything, document everything, issue a release from each tour or, when relevant. With the current touring band(s) that has resulted in an early, partial set from 2014 (Orpheum), a fan favourite Official Bootleg (Toronto 2015), a complete set list audio & video extravaganza with live/virtual studio listening options (Radical Action, 2016), an EP (Heroes, 2017) & the most recent (& current fan favourite), Official Bootleg (Chicago, 2017). It was always part of the plan that an official release would be taken from the 2016 European tour & the Vienna concerts were duly mixed & produced by Chris Porter, David Singleton & Robert Fripp in early/mid 2017 with a view to being released in Autumn 2017 (as happened in Japan). But King Crimson evolves, changes, morphs as relentlessly as the Soundscapes which open each concert and, when the early half of the US tour produced the Chicago “snapshot” live tapes & with another leg to the USA tour ending for the latter half of the year, DGM opted to issue Chicago as soon as possible in Europe & the USA, temporarily postponing Vienna for a 2018 release. Although it was a difficult decision to take, substituting a fully mixed, planned for months, release for an entirely different type of album, [Chicago was an ‘Official Bootleg’ taken directly from soundboard tapes], that decision had one further important ramification. Where the Japanese edition of Vienna had, as a bonus for local fans, live tracks from the 2015 Japanese tour, the additional time gained via the release of Chicago, allowed DGM to research & mix a live recording of “Fracture” – a key performance at a number of 2016 European shows & a piece that had not been performed since 1974 – for inclusion on the Vienna set. The recording featured is from Copenhagen in September 2016. There was also time to consider how the, often over-looked, unique to each evening Soundscape performances which open each concert, could be presented in recorded form. The result is a trio of pieces, drawn from nine separate concerts & edited ‘THRaKaTTaK’ style, featuring Robert, Mel & Tony. King Crimson continues to re-invent & re-imagine both itself & its music; the kind of thing that once would have been called a “progressive” approach. It’s an approach that has benefited band members and listeners alike from January 1969 & continues with tours of Europe & Japan in 2018, the band’s 49th year.
  17. Tuvimos el honor de ir con mi hermano a la "Avant Premiere" de los nuevos parlantes de Piav No está demás decir que es un excelente anfitrión, y por sobre todo, un GRAN AMIGO. De esos que pocas veces uno se encuentra en la vida, de verdad El cambio en relación a los Aurum Cantus fue absolutamente notorio y satisfactorio en todo nivel. Y eso que aún los PMC estaban salidos hace poquito del horno, estaban más bien duros les faltaba soltarse y dar lo máximo de sí. Llevaban poquitas horas de break in. Un sonido tridimensional como nunca, que hace que uno quede inmerso en la música. Toda la fineza, los detalles, la dinámica, etc. Unos bajos de miedo, como los de verdad, un soundstage exquisito, una profundidad, espacialidad, que superan con creces a los Aurum Cantus. Lo otro que el sonido jamás se desarma, siempre se siente la integridad musical. Y algo no menor para mí, ANDAN BIEN CON TODO. Eso me encantó. Sé que hay parlantes y marcas incluso que se especializan más en ciertos géneros, o que andan con algún sistema específico (tubos, por ejemplo), y que con otra cosa sencillamente mueren. Acá no, lo que le tirara uno los PMC sonaban como los dioses. Realmente resulta emocionante redescubrir la música que uno creía conocer tan bien a ojos cerrados, al escucharla de esta forma con este nivel de parlantes. Espero próximamente tener el honor de escucharlos nuevamente, ahora ya a unas semanas de la primera audición
  18. No sé como sonarán, pero HARTO FEOS (por no decir HORRIBLES) esos bookshelf Y las columnas no son precisamente atractivas tampoco. Debiese ser uno de los mandamientos high end y hi fi - NO ARRUINARÁS LA HERMOSURA NATURAL DE LA MADERA PINTÁNDOLA NEGRA. Se ven tan falsos, artificiales y opacos los parlantes negros
  19. Atentos amigos Mañana habrá un anuncio de Led Zeppelin. De seguro tiene que ver con la celebración de su 50 aniversario.
  20. Amigo Milo Maiden Deduzco que a ud le gusta rockear a diferencia de algunos foreros que escuchan leseras fifi de jazz vocal y clásica solamente Los Q3050 son exquisitos. Y lo mejor de todo es que son muy amigables con los match de los sistemas. Al no ser chillones, fríos ni fomes, pueden hacer matching con casi cualquier ampli. Dan un gran soundstage con muy ricos y buenos bajos. Lo que recomiendo, en mi humirde opinión, es que compres acá en el foro (NO Mercado Libre) algún ampli USADO. Te saldrá mucho mejor, además de que acá los foreros realmente cuidan como sus hijos todos los componentes de audio. Compra con 100% de confianza. Acá no hay chantas ni embaucadores. Te recomiendo un buen ampli que te entregue de 50 watts (de verdad) para arriba para sacarle buen provecho a las cajas. Uno que sea entretenido, seductor, vivo. Lo otro que puedes hacer es publicar acá un aviso "Compro Ampli Integrado hasta $500.000" y verás que te aparecen varios foreros con ofertas! Saludos
  21. Un detalle no menor La edición original en CD suena como las reverendas. Pero trae la performance completa del Concerto. La edición remezclada en 2 CD que salió años después tiene el solo de batería cortado
  22. http://www.zappa.com/news/frank-zappas-legendary-1973-roxy-performances-captured-definitive-seven-cd-boxed-set STORE Frank Zappa’s Legendary 1973 "The Roxy Performances" Captured On Definitive Seven-CD Boxed Set Complete collection includes all four public shows, invite-only soundcheck, rehearsal and Bolic Studios session. Digital pre-order receives instant gratification download of “RDNZL.” Available On February 2 via Zappa Records/UMe. Pre-order Now! Fourty three years ago in December 1973, Frank Zappa played a series of legendary concerts at the famed Roxy Theatre on the Sunset Strip in Hollywood. Considered a high-water mark of his career, owing to the incredible, virtuosic performances of himself and his stellar band The Mothers, the five shows – across three nights – included a private invite-only performance/soundcheck/film shoot followed by back-to-back doubleheaders. A few days later, continuing this incredibly prolific week, Zappa brought his band and camera crew to Ike Turner’s Bolic Sound in Inglewood for a filmed recording session. In typical Zappa fashion, he recorded it all. On February 2, 2018, Zappa Records/UMe will release The Roxy Performances, a definitive seven-CD box set that collects all four public shows from December 9-10, 1973, and the December 8th film shoot/soundcheck, each presented in their entirety for the first time, along with bonus content featuring rarities from a rehearsal, unreleased tracks and highlights from the Bolic Studios recording session. This complete collection, totaling nearly eight hours, documents the Roxy shows as they happened and presents brand new 2016 mixes by Craig Parker Adams from new 96K 24 Bit transfers of the multi-track masters. The set is rounded out with a 48-page booklet that includes photos from the performances, extensive liner notes by Vaultmeister Joe Travers, essays from Zappa family friend, Australian writer Jen Jewel Brown, and American singer/songwriter Dave Alvin, who give their firsthand recollections about the shows, and a selection of archival press reviews. Those who digitally pre-order the box set will receive an instant grat download of “RDNZL.” Culled from the very first show on December 9, the track is a live version of the classic song featuring the never-before-heard 2016 mix that exemplifies the sonics of the new box set. Pre-order The Roxy Performances now: http://ume.lnk.to/FrankZappaRoxy “This is one of my favorite FZ line-ups ever. This box contains some of the best nights of music Los Angeles has ever seen with their ears at an historic venue," says Ahmet Zappa, who co-produced the collection along with Travers, “Hold on to your hotdogs people. This box is the be-all-end-all. This is it. This is all of it. It’s time to get your rocks off for the Roxy.” While portions of these concerts have been released in various formats over the years – first in 1974 on the album Roxy and Elsewhere, which mixed material from the shows with performances recorded in different locations months later, followed by 2014’s Roxy By Proxy, which featured Zappa’s 1987 digital mixes of tracks from various shows, and most recently the 2015 film Roxy The Movie and its accompanying soundtrack – the shows have never been released in their entirety until now. The Roxy Performances capture Zappa and The Mothers in peak condition as they play to rowdy sold-out crowds in the intimate, just-opened venue in their hometown Los Angeles following the release of Over-Nite Sensation. The extraordinary band was one of Zappa’s best with keyboardist George Duke, bassist Tom Fowler, trombonist Bruce Fowler, tenor saxophonist and vocalist Napoleon Murphy Brock, percussionist Ruth Underwood and drummers Ralph Humphrey and Chester Thompson all flawlessly in lockstep as Zappa led them through his musically adventurous compositions filled with complicated time signatures and sudden tempo changes. As the Los Angeles Times remarked in their review, “The content of any show starring Frank Zappa and the Mothers of Invention is unpredictable. But the quality of the show is predictable. I have seen this satirical rock group many times and every show has been excellent. True to form, the group performed sensationally at the Roxy on Sunday night.” The (long-defunct) Los Angeles Herald-Examiner was equally impressed: “This time around Zappa, the counter-culture’s John Cage, has assembled a remarkable group of musicians. Tim Fowler on bass, his brother Bruce on trombone, Ralph Humphrey on drums, and George Duke, whose keyboard skills almost upstaged the leader himself. Percussionist Ruth Underwood kept up with the band’s frenetic pace without missing a single swat of the gong, and she was incredible.” The material expertly performed across the five shows consisted mostly of songs from 1969 and beyond and included a dizzying array of stylistic diverse tracks from Uncle Meat, Hot Rats, Waka/Jawaka and Over-Nite Sensation. The shows also include a number of live favorites like “Village Of The Sun,” “Pygmy Twylyte,” “Cheepnis,” “Penguin In Bondage,” “Echidna’s Arf (Of You),” and “Don’t You Ever Wash That Thing.” Many of these ended up on Roxy & Elsewhere. Jen Jewel Brown and Dave Alvin give a glimpse at what it was like to be at these historic shows in their richly detailed essays in the liner notes that accompany the recordings. Alvin reflects about meeting Zappa on the Isle of Capri in 1982 while on tour with his band The Blasters and how Zappa’s eyes lit up when he told him he saw him at the Roxy. “You were at a Roxy show?,” he beamed. He goes on to write, “The Roxy Mothers were a grand combination of high art, low art, masterful technique and razor sharp humor with a touch of wild abandon.” In Brown’s reflection, Frank and Gail’s personal friend tells about what it was like for a young girl from Australia to witness Zappa on the Sunset Strip in the ‘70s and paints a vivid picture about what the shows were like. “This material shows an absolutely sleek beast at its prime,” she pens, adding, “This is a cultural record and there’s some prime Zappanalia here. Frank had put the crippling disasters of December ’71 behind him and was plunged headlong into some of the most beautiful music and zestful, open-hearted engagement with life imaginable.” DISC 112-9-73 Show 1 1. Sunday Show 1 Start 4:59 2. Cosmik Debris 11:33 3. “We’re Makin’ A Movie” 3:16 4. Pygmy Twylyte 9:08 5. The Idiot Bastard Son 2:19 6. Cheepnis 3:44 7. Hollywood Perverts 1:07 8. Penguin In Bondage 5:54 9. T’Mershi Duween 1:56 10. The Dog Breath Variations 1:44 11. Uncle Meat 2:29 12. RDNZL 5:14 13. Montana 7:49 14. Dupree’s Paradise 15:25 TT: 76:43 DISC 2 1. Dickie’s Such An Asshole 10:29 12-9-73 Show 2 2. Sunday Show 2 Start 4:08 3. Inca Roads 8:27 4. Village Of The Sun 4:19 5. Echidna’s Arf (Of You) 4:01 6. Don’t You Ever Wash That Thing? 13:22 7. Slime Intro :59 8. I’m The Slime 3:34 9. Big Swifty 9:01 TT: 58:25 DISC 3 1. Tango #1 Intro 3:50 2. Be-Bop Tango (Of The Old Jazzmen’s Church) 18:12 3. Medley: King Kong Chunga’s Revenge Son Of Mr. Green Genes 9:46 12-10-73 Show 1 4. Monday Show 1 Start 5:31 5. Montana 6:57 6. Dupree’s Paradise 21:26 7. Cosmik Intro 1:05 8. Cosmik Debris 8:05 TT: 74:57 DISC 4 1. Bondage Intro 1:52 2. Penguin In Bondage 6:54 3. T’Mershi Duween 1:52 4. The Dog Breath Variations 1:48 5. Uncle Meat 2:29 6. RDNZL 4:59 7. Audience Participation - RDNZL 3:08 8. Pygmy Twylyte 4:05 9. The Idiot Bastard Son 2:21 10. Cheepnis 4:49 11. Dickie’s Such An Asshole 10:2112-10-73 Show 2 12. Monday Show 2 Start 5:13 13. Penguin In Bondage 6:33 14. T’Mershi Duween 1:52 15. The Dog Breath Variations 1:46 16. Uncle Meat 2:28 17. RDNZL 5:11 TT: 67:50 DISC 5 1. Village Of The Sun 4:05 2. Echidna’s Arf (Of You) 3:54 3. Don’t You Ever Wash That Thing? 6:56 4. Cheepnis - Percussion 4:08 5. “I Love Monster Movies” 2:10 6. Cheepnis 3:35 7. “Turn The Light Off”/Pamela’s Intro 3:59 8. Pygmy Twylyte 7:23 9. The Idiot Bastard Son 2:22 10. Tango #2 Intro 2:01 11. Be-Bop Tango (Of The Old Jazzmen’s Church) 22:08 TT: 62:46 DISC 6 1. Dickie’s Such An Asshole 15:39Bonus Section: 12-10-73 Roxy Rehearsal 2. Big Swifty - In Rehearsal 2:50 3. Village Of The Sun 3:13 4. Farther O’Blivion - In Rehearsal 5:34 5. Pygmy Twylyte 6:17 Unreleased Track 6. That Arrogant Dick Nixon 2:19 12-12-73 Bolic Studios Recording Session 7. Kung Fu - In Session 4:50 8. Kung Fu - with guitar overdub 1:17 9. Tuning and Studio Chatter 3:38 10. Echidna’s Arf (Of You) - In Session 1:22 11. Don’t Eat The Yellow Snow - In Session 9:49 12. Nanook Rubs It - In Session 5:41 13. St. Alfonzo’s Pancake Breakfast - In Session 2:46 14. Father O’Blivion - In Session 2:31 15. Rollo (Be-Bop Version) 2:36 TT: 70:31 DISC 7 12-8-73 Sound Check/Film Shoot 1. Saturday Show Start 2:20 2. Pygmy Twylyte/Dummy Up* 20:25 3. Pygmy Twylyte - Part II 14:25 4. Echidna’s Arf (Of You) 3:42 5. Don’t You Ever Wash That Thing? 6:01 6. Orgy, Orgy 3:39 7. Penguin In Bondage 6:30 8. T’Mershi Duween 1:53 9. The Dog Breath Variations 1:45 10. Uncle Meat/Show End 4:01 TT: 64:46
  23. ponkine

    McIntosh MA8900

    Obvio Soy un senador de la república. Ahora vote por mí
  24. ponkine

    McIntosh MA8900

    https://www.stereo.net.au/reviews/review-mcintosh-ma8900-integrated-amplifier McIntosh’s new MA8900 integrated amplifier simply confirms the brand’s iconic status. Yes, I know, I know, it’s solid state. But trust me, it sounds so complete after an hour spent pleasurably in its company; you’ll want one. MCINTOSH MA8900 INTEGRATED AMPLIFIER McIntosh’s new MA8900 integrated amplifier simply confirms the brand’s iconic status. The Big Mc engenders a life-long loyalty as exemplified by an audio buddy of mine called, Ken who had to work hard for his first McIntosh, an MC275 valve amp. Back in 1993, McIntosh surprised the audio world when it re-released its legendary 1961 valve power amplifier called the MC275.This limited-edition production run was in honour of Gordon Gow, Mcintosh’s long-serving president. Subsequent reviews were not just glowing; they were hell-hot. So much so, the new MC275 became coveted and highly sought after for those that could afford the eye-watering $7000 or so price tag. In hindsight, the rereleased MC275 looked as good as the original, but the sound wasn’t. More than two decades since, my opinion hasn’t changed. The Gow commemorative MC275 had spongy bass. Later revisions of the MC275 put things right. So right, in fact, I bought one in 2009. In 1993, my mate Ken bought the Gow version. But not in Australia. It wasn’t available at the time, and the local distributor had a long waiting list. Ken was a long way short of the front of the queue. Ever resourceful, he bought his from a Hong Kong High-End audio store along with a return airplane ticket. With just a backpack on his shoulders, Ken carried a spanking new MC275, all 34.1 kgs of it, into Hong Kong’s airport terminal, and happily paid for the excess baggage. Arriving in Melbourne, he carried it all the way from the Tullamarine terminal, hailed a cab, put the new Mc in the back seat and made for home. He wasn’t the only one to go to elaborate lengths to own a spanking new MC275, proving the commitment of the fan base to McIntosh is unlike any other in audio. Ken went on to adore his MC275. So did the few of us who got to hear it and see its tubes reflected against its upper chrome chassis. A visual delight from its first release in 1961, the 1993 version looked as beautiful as the original and had that magic McIntosh liquid midrange, disinterested bass notwithstanding. The $14,995 MA8900 is a different beast visually, but allow me to share with you how lust engendering it is in the flesh. Yes, I know, I know, it’s solid state. But trust me, it sounds so complete after an hour spent pleasurably in its company; you’ll want one. It’s so formidable physically, and so pleasing aesthetically. It’s just so musical sounding that it makes me want to stomp all over anyone into the vows-of-poverty approach to life and the universe. While I genuinely, deeply respect those renouncing the material life and the world of the flesh to focus on the spiritual, I just wish they’d get on with it and leave me out of the loop. If a McIntosh amp the calibre and completeness of the MA8900 stand between redemption and me, I’ll take the Mc. As for spirituality, Van The Man belting out “Ballerina’’ aided by the grace, power, presence and dynamic clout of the MA8900 is as much “otherworldliness” as I need these days. Should I need more, I’ll press repeat on my Audio Research CD player or re-cue the SME V tonearm on my turntable. Piles of lucre aside, what you’ll also need to unbox and install an amp of this size and weight are forceps like a gorilla. Or in my case a dutiful son and a couple of audio buddies built like Tarzan. The Mc’s delivery driver was hairy but had neither the physique of ape or ape-man. As he told me that he had a “very heavy box on a pallet… to deliver”, I could sense his angst. No wonder, the MA8900 weighed 63.5 Kgs including pallet. Without the pallet, it was still a back torturing 43.5 Kgs. “What the bloody hell is in there, boat anchors?’’ he said, pointing to the very, very, large, black, shrink-wrapped MA8900 carton. “An American amplifier made by a brand that could be building Cadillacs,’’ I say back to him. With a little help from a compact forklift, he moved the big Mc from his truck, down my driveway and left it on the doorstep. Job done, he was gone. McIntosh doesn’t do small; I remember thinking after walking around a carton left on my porch that was big, bulky and heavy. So big, no one was going to cut it free from its pallet and make off with the 8900 down the street. Later that evening and with a cast of thousands on hand to move it to the listening room, the MA8900 was unpacked and loaded onto my audio rack. In situ, the MA8900 attracted plenty of admirers and accolades for its sheer, formidable presence, perceived build quality and that unique McIntosh styling. If the large, blue power output meters ring your bells, make haste for any Mc. The pair on the glass fascia and the two chrome outer edges on the front of the chassis are the standard style signature for most McIntosh models. So are large, visible transformers. The 8900 has three: a huge power transformer in the middle and either side hefty output transformers. This trio are built snugly just behind the facia. As for the monogrammed heatsinks? Two run either side of the chassis just behind the transformers. Their humongous size used to dissipate heat away from the high current output transistor signals. This is a seriously powerful amplifier rated at 200 watts per channel into an 8ohm load. And speaking of impedance, the rear of the MA8900 carries connection options for driving into 2, 4 and 8-ohm loads. The 4-ohm tap was tried with Yamaha NS1000s and Wilson Audio Sasha loudspeakers. 8 ohms sounded best. I’ve heard people describe the MA8900’s sound as “disinterested’’. My advice? Try the 8-ohm setting. Result? Plenty of life and verve to keep you entertained into the wee small hours. And speaking of connections, since sparse and minimalist isn’t the McIntosh way, options abound. MA8900 owners can knock themselves out choosing from six unbalanced and one balanced inputs, fixed moving magnet and adjustable phono stages, a pair of coaxial inputs, two optical inputs, one USB input, one unbalanced fixed output and two variable outputs. Yes, there’s also a headphone output, while the headphone amp is loaded with Mc’s patented technologies. The USB input processes signals up to 32-bit/384kHz and supports DSD256, DXD256 and DXD 384kHz. McIntosh describes the MA8900 as a “next generation’’ model. Meaning, when it comes to the ever-changing world of digital audio, it sports features that make it relatively future proof. Each digital input, for example, cohabits in a McIntosh developed DA1 Digital Audio Module that supports an 8-channel, 32-bit DAC used in Quad Balanced mode with six digital inputs. Owners can give each input a custom name and more importantly, the 8900 is Mc’s first integrated where its input works indecently. But here’s the thing. McIntosh is now using digital modules that are easy to replace. Design features that ensure the 8900 and like designed Mc models remain future proof. Elsewhere this amp is loaded with patented technologies including autoformer output stages and fuse-less protection circuits called ‘power guard’ and ‘sentry monitor’. BIG, BOLD AND BEAUTIFUL The MA8900 was inserted in a system comprising SME 20/11 turntable, SME V tonearm and Koetsu Rosewood cartridge, Audio Research Reference 7 MK2 CD player, Elektra Audio pre and power amplifier driving Wilson Sasha speakers. Cabling used was Inakustik throughout, including the tonearm cable. From the get-go, the new McIntosh drove the wicked Sasha speakers with arrogant ease. The sound was full-bodied, detailed, rhythmic, clear as a summer sky and effortlessly dynamic. My curiosity piqued when I replaced the Sasha with Yamaha NS1000 speakers followed by 1994/5 Rogers LS35/As and a pair of rare B&W 805 Matrix. Every speaker proved an effortless match for the MA8900, so I switched back to the Sasha to exploit its full-range sound and explosive dynamics. First port of call was the Mc’s built-in DAC using a MacBook Pro and my Tidal library as a signal source. My notes record the comment “quite enjoyable but lacking both the detail and transparency delivered via the moving coil phono stage’’. The CD was leap years ahead sonically, and analogue via the SME combination light years ahead of CD or DAC. Sounding like an audio dinosaur, I know. All I can do to assuage you I’m not anti-digital is ask you take yourself to any decent audio store and A/B digital versus analogue audio. If you come down on the side of digital, you’ll have my commiseration. Though I played dozens of vinyl and CD albums via the MA8900, one feature stood out whatever the source: a sense of cohesiveness that highlighted the way the MA8900 presented a highly detailed and clear sonic message without scrambling or pulling apart each element. With John Lennon’s Steel and Glass filling my room with its sense of outrage, I felt I could lean over and touch the guitar or cheekily give the high hat a good tap. This sense of realism made possible by the MA8900’s ability to conjure fine detail out of complex mixes was allied to a realistic soundstage with realistic depth, lateral spread, and height. So “realistic” is an appropriate word to describe the sound of the MA8900 driving the Wilson Sasha. But the speaker brand I kept imagining would sing with the MA8900 is, Martin Logan. Intuition and years of grinding away at this hobby suggest a magical synergy between a Hybrid Logan and this doozy of an integrated model. Logan owners, please take note. So, the Mc could dish out the dynamic stuff, but feeling mischievous I played the Sinead O’Connormasterpiece called Streetcars. WOW! DOUBLE WOW! I had the sense this woman troubled by inner demons, but gifted the voice of an angel not only appeared in my room but was urging me to walk into the studio and hold her recording notes. Streetcars is sparsely scored, mainly Sinead’s soaring voice accompanied by synthesiser. More a prayer than a song, by the time the lyrics got to the part where she intones, “There’s no safety to be acquired/riding streetcars named desire’’, I knew I was in the presence of one of pop music’s most unique and enduring voices. And I had had a great-integrated amp as the conduit into her music. Speaking of great voices, the pairing of Simon and Garfunkel and their music helped to shape it has to be said, the vibe of a generation. So, I pulled out a vinyl copy of, you guessed it, 'Bridge Over Troubled Waters'. I played the track the Only Living Boy In New York which is a song about friendship and the things that matter. Insistent drums, muscular bass, and forceful guitars merge with otherworldly vocals replete with a multitracked chorus, on this superbly produced track. So beautiful I went on a bit of an S&G vinyl binge. When I heard the slightly out of tune guitar on the track For Emily Wherever I May Find Her, performed live and pressed on the Simon And Garfunkel 'Greatest Hits' album, I understood just how much of a detail maestro the MA8900 is. To prove I’m far from anti-digital, I closed the last listening session of a three-week review period with the 'Elbows' CD track called The Everthere. Sure enough, the skin folds on the Manchester group’s kick drum are tight and taut. I was listening for an instrument that sounded like a wailing mandolin somewhere to the rear of the mix. It emerged from a moveable feast of instruments carrying the music to the listener on a complex weave of rhythm and timing. And it was clear and insistent, wanting a good amp to make it heard above the raucous din of instruments and vocals. It isn’t hard to fall head over heels with an integrated amp with the sonic prowess of the MA8900. The technology and feature count also must be factored in to the eye-watering price tag. Those that can afford the MA8900 will not all be wealthy. I imagine most audiophiles and music lovers are ordinary people who must save long and hard to shop for a model in this category. And the category least you haven’t noticed is a high-end integrated amp. A perch on the top of the audio ladder where exotic rivals from Mark Levinson, Krell, and Gryphon abide alluringly but mostly unaffordable. The MA8900 takes them all on and adds McIntosh’s legendary reliability and the newly derived nod to future proofing. The MA8900 doesn’t sound good- it sounds marvellous, on all types of music. It engenders a sense of pride of ownership, has Cadillac build quality, intelligent user features, and it’s bloody heavy. A good thing, because once it’s brought home, unlike my review sample yours won’t be going back. For more information visit McIntosh.
  25. http://stevenwilsonhq.com/sw/porcupine-tree-classics-absentia-deadwing-reissued-vinyl-2018/ PORCUPINE TREE CLASSICS ‘IN ABSENTIA’ AND ‘DEADWING’ TO BE REISSUED ON VINYL IN 2018DECEMBER 7, 2017Two of the most popular Porcupine Tree releases, In Absentia and Deadwing, have been acquired by Kscope and will be given long awaited reissues on vinyl in February and March, with new CD editions to follow later in 2018. For the first time since their original release, both albums have also been remastered with considerably less compression / limiting, and consequently the albums are now a more dynamic listening experience.In Absentia was the band’s seventh studio album, first released in 2002, and the first in a run of 3 albums that for many represent the pinnacle of the band’s artistic achievements (myself included). Following on from 2000’s Lightbulb Sun it had a distinctly heavier tone, partly due to a shift in musical interests, but also the addition to the line-up of the exceptional Gavin Harrison on drums. It was our first for major label Lava / Atlantic Records and features several of Porcupine Tree’s most loved songs, including “Trains”, “The Sound of Muzak” and “Blackest Eyes”.The follow up album Deadwing from 2005 was based on a film screenplay written in collaboration with my friend, director Mike Bennion. About half of the songs were started with a view to being part of the score to that film, but when it failed to move into the production stage, they instead became the foundation for the next PT album, with additional material written in collaboration with the band. The album features some of my favourite PT songs, including “Lazarus”, “Mellotron Scratch” and “Arriving Somewhere But Not Here”.These new vinyl editions will be released on double heavyweight audiophile 180g vinyl presented in gatefold packaging. Deadwing has been out of print on vinyl for many years, so I know that one will be particularly welcome.Both albums are available to pre-order now from Burning Shed. Headphone Dust will also stock them nearer the release dates. In addition to regular black vinyl, special limited coloured vinyl editions will be exclusive to both mail order outlets. Deadwing is released on 23rd February 2018, and In Absentia on 9th March 2018.