I am assuming that most Forumites have an awareness of Pristine Audio. The company restores Historical Performances is run by Andrew Rose, a former sound man for the BBC.
In the review magazines that I read I am usually most intrigued by reviews of PA releases, and had bough a few through the years as downloads and CDs. With money allowed to travel in my bank accounts due to all plans being squashed by the Pandemic I recently bought PA "Digital Music Collection" 1 TB HD with about 1000 albums load, and no DRM strings attached.
Streaming, however, is where the money is, eh? PA now offers a service and despite the redundancy with the aforementioned collection I signed up. There are, apparently around 230 paid subscribers, it is a monthly fee, etc. It cost around twice what I am paying for Qobuz and is much less flexible. Tracks don't load well, it frequently crashes, and I've been asked several times to reenroll. I mean, I''m sure that Andrew Rose has less to spend on Customer Support than Spotify, right? It doesn't work with any streamer that I own (Bluesound Node, Cambridge Audio CXN 60, Melco N100, Apple TV) so I either use it from my phone or I AirPlay it from an iPad to the Cambridge, which since I am not a headphone fan, is the best sonic alternative. The aforementioned DMC HD, which attaches by USB, also would not play from the aforementioned streamers, but does play on my OPPO Universal Disc Player front USB port. So expect to use a computer in the chain for either of these services.
OK, technical issues aside, man there are some real treasures there. I have spent a lot of time with the Backhaus Beethoven Sonatas from the early fifties, and there is also a terrific Brahms PC2 in there as well. I find Backhaus to be a unique voice, I don't always accept his choices, etc but he has a way of playing what is usually regarded as transitional passages with a rhetoric them seem of greater import.
Other notables have been Koussevitsky/Boston in Bartok CFO, a live concert about 6 months after the premiere with stunning virtuosity, many Horenstein items. There is a backload of Toscanini, Cantelli, and various other conducts with the NBC Orchestra to be mined.
Some of it is eyebrow raising. I listened to Mischa Elman play a Vivaldi VC, circa 1932, and it just sounded so foreign, but by the end of the piece was engaged. In the end musicality triumphs, regardless of style, recording techniques, etc
In the review magazines that I read I am usually most intrigued by reviews of PA releases, and had bough a few through the years as downloads and CDs. With money allowed to travel in my bank accounts due to all plans being squashed by the Pandemic I recently bought PA "Digital Music Collection" 1 TB HD with about 1000 albums load, and no DRM strings attached.
Streaming, however, is where the money is, eh? PA now offers a service and despite the redundancy with the aforementioned collection I signed up. There are, apparently around 230 paid subscribers, it is a monthly fee, etc. It cost around twice what I am paying for Qobuz and is much less flexible. Tracks don't load well, it frequently crashes, and I've been asked several times to reenroll. I mean, I''m sure that Andrew Rose has less to spend on Customer Support than Spotify, right? It doesn't work with any streamer that I own (Bluesound Node, Cambridge Audio CXN 60, Melco N100, Apple TV) so I either use it from my phone or I AirPlay it from an iPad to the Cambridge, which since I am not a headphone fan, is the best sonic alternative. The aforementioned DMC HD, which attaches by USB, also would not play from the aforementioned streamers, but does play on my OPPO Universal Disc Player front USB port. So expect to use a computer in the chain for either of these services.
OK, technical issues aside, man there are some real treasures there. I have spent a lot of time with the Backhaus Beethoven Sonatas from the early fifties, and there is also a terrific Brahms PC2 in there as well. I find Backhaus to be a unique voice, I don't always accept his choices, etc but he has a way of playing what is usually regarded as transitional passages with a rhetoric them seem of greater import.
Other notables have been Koussevitsky/Boston in Bartok CFO, a live concert about 6 months after the premiere with stunning virtuosity, many Horenstein items. There is a backload of Toscanini, Cantelli, and various other conducts with the NBC Orchestra to be mined.
Some of it is eyebrow raising. I listened to Mischa Elman play a Vivaldi VC, circa 1932, and it just sounded so foreign, but by the end of the piece was engaged. In the end musicality triumphs, regardless of style, recording techniques, etc
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