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Tone Poet Blue Notes

Playing the mono version this morning. I’m very happy with both the mono and stereo Tone Poets. Glad I got both. Keepers.

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Interesting new interview with Joe Harley where he gives some history and detail of the whole process of producing the Tone Poet series. Mastering is now complete for releases well into 2024. Also his views on analogue v digital and streaming. I liked “Listening to analogue vinyl records is a Primary thing not Secondary or Tertiary activity”. A couple of new reveals at the end as to what recordings are coming in future.

https://www.soundsvisualradio.com/podcast/sounds-visual-radio-episode-122-joe-the-tone-poet-harley/
 

Good shootout here, shame my Classic Records pressing isn’t there, but there’s a very nice RVG stamped early stereo pressing. They certainly note the midband push and excitement that of original RVGs, and I love that. Other pressings are more audiophile.

PS I retain my belief that Rudy recorded bright and then deliberately rolled-off treble at the cut, i.e. DIY noise reduction. TPs sound over-lit at the top to me, and I think that’s what Ken was on about with the cymbals sounding “clean, but smaller” etc at the end.
 
Tony L said:
PS I retain my belief that Rudy recorded bright and then deliberately rolled-off treble at the cut, i.e. DIY noise reduction. TPs sound over-lit at the top to me, and I think that’s what Ken was on about with the cymbals sounding “clean, but smaller” etc at the end.
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I'm sure that's true but I only have one or two of my own to test the theory. Kenny Burrell Guitar Forms for sure but that's on Vevre and they don't sound the same either, but which tells us that Lion would have had a big say in the 'house sound'. I guess the issue is whether Rudy/Lion would have made the same choices for today's kit. I'm sure his mastering would always have been both as broadband and as dynamic as possible/sensible given physical limitations.
 
Although RvG said that he didn't have a 'sound', he certainly did. It was usually dynamic and punchy, in your face and the piano dry and hard sounding. But it varied according to the label. The sound on Blue Note is different from that of Impulse or Verve or Prestige or Savoy.
 
paulfromcamden said:
Rich DGMono has been visiting the Van Gelder studio. Looks like Rudy used a Technics SL 1100 turntable.

https://www.instagram.com/p/CjqecrRufan/
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The SL1100 didn’t appear outside Japan until 1973. A friend had an SL-110 (the version without an arm) with an SME 3009 and Shure V15 III on it in the mid 70’s, before he changed to an LP12 setup.
http://www.thevintageknob.org/technics-SL-1100.html

I wonder what RVG used in the late 50’s to late 60’s period for personal use when he engineered most of his greatest recordings? I expect for checking acetates he had a playback arm on the lathe.
 
poco a poco said:
I wonder what RVG used in the late 50’s to late 60’s period for personal when he engineered most of his greatest recordings? I expect for checking acetates he had a playback arm on the lathe.
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Almost certainly either a SME 3012 and whichever Shure V15 was current at that time, or an Ortofon 12” arm and cart e.g. RM309/SPU. Likely the former as it tracked much lighter which is significant with lacquers. I can’t remember ever seeing anything else bolted to a cutting lathe.

I know he used Altec 604s of some description as monitors as they are often visible, no idea about amps. I’d love to try a pair of 604s for that reason alone!
 
That was the final temptation for me to buy the KB record - also at £29. Worth it even if I just put a frame on the cover!
 
poco a poco said:
The SL1100 didn’t appear outside Japan until 1973. A friend had an SL-110 (the version without an arm) with an SME 3009 and Shure V15 III on it in the mid 70’s, before he changed to an LP12 setup.
http://www.thevintageknob.org/technics-SL-1100.html

I wonder what RVG used in the late 50’s to late 60’s period for personal use when he engineered most of his greatest recordings? I expect for checking acetates he had a playback arm on the lathe.
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It doesn't surprise me that Rudy used a relatively modern Japanese direct drive. He was a fan of new technology after all - whether it was Neumann condenser mics in the 1950s or digital recording systems in the 1980s. Like you I'm curious to know what the Technics replaced...
 
kjb said:
Are the extensive (and very interesting) discussions about RVGs preferred kit a sign that we're becoming less excited about the music on the BNs??
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No, but I take your point that the music of course is the most important point of it all. As he had such a great influence on how much of the best Jazz from this time was and is presented to to us and we wish to hear it at its best it does have some importance. Most of us because of this are also interested in technology recording and replay for better or worst. Interesting that RVG’s ongoing interest in in new technology finally resulted (IMHO)in a decline in the quality of the sound he remastered or recorded.

So perhaps can be warning to us all? :rolleyes:

Edited for typos and clarification.
 
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kjb said:
Temptation, temptation: prices dropping further.

If anyone is interested, Amazon are offering quite a few TPs at 20% off at the moment…
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Yes, I had £5 and 5€ vouchers offered by Bezos World and Monde de Bezos respectively at the weekend, resulting in the ordering of Tone Poets 7 and 8 (State of the Tenor Vol.1 and Moment of Truth) at about £26 each.
 
The Tone Poet prices on Amazon are so volatile - I saw that recent Kenny Burrell LP for £28 - so I nip over to my computer to purchase it and... it's back up to £33! Luckily I've learned to exercise patience and won't be drawn in. lol
 
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