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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
Grateful Dead
Terrapin Station
Rolling Stone 2015 Readers' Poll: The 10 Best Jam Bands: The Grateful Dead Rated 1st! Terrapin Station - released in 1977 - marked the Dead's first studio album in two years and their return to a major label, in this case Arista Records. The band hired an outside producer for just the second time, using Keith Olsen, a former member of the '60s garage rock band Music Machine. Highlights are abound and include the title suite that extends to cover all of Side B, as well as the disco-like reworking of the Martha & The Vandellas hit "Dancin' In The Streets," the Rev. Gary Davis cover of "Samson and Delilah" and the classic "Estimated Prophet." The record - like the band - is a beautiful amalgamation of styles, with rock, funk, disco, strains of reggae. The record - as their ninth studio effort overall - has a decidedly tighter and more cohesive feel than the live material for which they became legendary. All the same, it's unmistakable classic Dead all the way, and in fact much of the material from this record became live staples for the band for the rest of their existence.
