Welcoem to posts!!
in the future - u will be able to do some more stuff here,,,!! like pat catgirl- i mean um yeah... for now u can only see others's posts :c
I'm currently travelling and occasionally listen to music via the Airpod 4 with the iPad or iPhone....Â
I noticed the different sound... Actually, you'd think it would sound pretty much the same... but it doesn't.
I like the sound from the iPad much better!... Have you ever noticed anything like this?
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Which recording of âDon't Stop âTil You Get Enoughâ do you think is better?
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The next Pop/ Rock releases:
07.06.2025 10:00 AM (GMT +02:00): Steve Winwood - Talking Back To The Night (1982)
14.06.2025 10:00 AM (GMT +02:00): Nilsson - Aerial Ballet (1968)
21.06.2025 10:00 AM (GMT +02:00): The incredible Jimmy Smith - The Cat (1964 - 2013)
28.06.2025 10:00 AM (GMT +02:00): Johnny Guitar Watson - Funk Beyond The Call of Duty (1977)
05.07.2025 10:00 AM (GMT +02:00): Pink Floyd - ăćäč áȘćć°șÒ äžäžšáȘäč ăć ăćäč çȘăăć - çȘćäžă„ (1973/1979) (new recording)
12.07.2025 10:00 AM (GMT +02:00): Michael Jackson - Off The Wall - MoFi 45rpm (2025/1979)
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Thank you very much for 1 million views of The Wall, that's really incredible for me â€ïžđ€
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Many, many thanks for 15,000 subscribers. That is absolutely amazing and unbelievable for me. Thank you to all the vinyl enthusiasts out there in the world. I am absolutely delighted.
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Thank you for 10,000 followers! đ€đđ„ł
When I started this channel 2 Âœ years ago, I never thought I would reach 100 followers. đ€Šââïž
I'm all the more pleased that so many of you value excellent music playback and take just as much pleasure in enjoying great music in the best quality. đ
A huge thank you to you all - and keep enjoying great music! đđ
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Many thanks for 500,000 views of âThe Wallâ
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Thank you for 7.500 subscribers !! This escalated quickly đđđđ
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Coppélia coming soon...
Plot of the ballet
Act 1: Marketplace in a small town in Galicia. Swanilda's house in the background on the left. Like all the other houses, it is painted in bright, friendly colours - in contrast to Coppélius' house, which makes a gloomy, sinister impression with its locked door and shuttered windows. Swanilda has spotted Coppélia, Coppélius' daughter, sitting by the window reading a book. However, she tries in vain to attract her attention. Annoyed, she is about to knock on the front door when she hears a noise from inside. Coppélius appears at one of the downstairs windows. At the same time, Swanilda notices her fiancé Franz, whom she suspects of secretly worshipping Coppélia. She quickly hides and observes how he greets his rival, who for her part
- who returns the greeting, albeit somewhat reservedly. Swanilda also realises that Coppélius is watching all this suspiciously from his window and secretly - and not without anger - wonders whether he has the (evil) intention of luring Franz into his house.
But she doesn't let her feelings of anger and jealousy show and runs away - out into the open, where she chases after a butterfly.
Franz has caught sight of Swanilda. He catches the insect, stabs it with a needle and triumphantly attaches it to his collar. Swanilda, however, reproaches him severely. She also accuses him of infidelity and refuses to listen to his protestations. At this moment, the mayor appears, followed by a crowd of peasants. The mayor invites them to a celebration at which a new bell is to be consecrated by the lord of the castle. Suddenly, strange noises are heard: They are coming from Coppélius' house, behind whose windows a reddish light is shining. The frightened girls are quickly reassured: It's just the crazy Coppélius working in his workshop. The mayor catches sight of Swanilda. He informs her that the lord of the castle is giving a dowry to all couples getting married the next day and asks her to come along with her Franz. She responds in her own way by alluding to the story of the ear of corn, which reveals every secret: she snaps off an ear of corn, but Franz can't hear a thing!
One of her friends, however, tells her that he has heard the message very clearly. Swanilda angrily snaps the ear of corn and announces to Franz that everything is over between them. Disappointed and sad, Franz leaves.
While the lord of the castle is being celebrated, Swanilda and her companions dance a Slavic folk tune with variations and then join the boys in a czårdås. As night falls, the crowd disperses. Coppélius steps out of his house. When he has locked the door, he is harassed by a group of young people who hold him up for the best. But he finally manages to escape them. Swanilda appears once again to say goodnight to her friends. One of the girls finds Coppélius' key, which he had lost during the skirmish with the young people. Swanilda is very tempted to use it to unlock the door of Coppélius' house, go inside and get to know her rival better. But she hesitates at first. But when she sees Franz standing in the dark shadows of the trees, she is overcome with jealousy again. She takes heart and enters the mysterious house with her friends. Meanwhile, Franz sneaks across the market square with a ladder to Coppélius' house, where he leans against it. He has just climbed up a few rungs when he hears Coppélius coming back, looking for his key. He quickly jumps off the ladder and makes a dash for it.
Act 2: CoppĂ©lius' workshop. In it, numerous automatic puppets, marionettes and figures are distributed throughout the room: e.g. a Persian with a white beard, sitting at a table and reading a book - a cimbalom player on a cushion - a Chinese man with a dulcimer. Swanilda and her friends fearfully enter the room from a back staircase. Now she becomes bolder and pulls back the side curtain, behind which she discovers CoppĂ©lia. The object of Franz's adoration is nothing other than an automatic doll! Relieved, the girls begin to dance and play exuberantly with the mechanism of the figures. They are suddenly surprised by the returning CoppĂ©lius. They hurry away - except for Swanilda, who, unnoticed by CoppĂ©lius, manages to hide behind the same curtain that CoppĂ©lia is hiding behind. CoppĂ©lius, who believes he has finally got rid of the troublemakers, now sees Franz entering his house through the half-open back window. He lets him in at first, but then grabs him roughly as he tries to crawl to the alcove where CoppĂ©lia is. Franz tries to get back to the window, but the old man blocks his way and confronts him. Franz confesses to him that he is in love with CoppĂ©lia. CoppĂ©lius then invites him for a glass of wine. He pours two glasses and offers Franz one of them. However, he pours out the contents of the other glass secretly and unnoticed. Franz is unable to do more than stagger towards CoppĂ©lia: stunned, he collapses over a table. CoppĂ©lius, meanwhile, fetches a book of spells from which he quotes all kinds of incantations. He then pushes the doll CoppĂ©lia to the table, making preparations to exorcise Franz's soul and use it to animate the doll. At first, the doll begins to perform mechanical movements. But gradually - under the intensified incantations - more and more human life comes into the doll, which in the end appears like a real human being. CoppĂ©lius is beside himself with delight; however, he soon realises that his creature is beginning to become unpredictably dangerous. He tries to appease the âdollâ by putting a mantilla on her and then adorning her with a Scottish sash, whereupon she dances a bolĂ©ro and a gigue. But this is all just a temporary and ineffective stopgap. Full of despair, he pushes CoppĂ©lia back into her seat and shoves her back into her alcove. Franz wakes up. CoppĂ©lius orders him to leave the house. Suddenly, the music of the puppet cars can be heard again: It was none other than Swanilda, who has been portraying CoppĂ©lia all this time and putting her through those mechanical automaton motions! Before she can escape with Franz, she sets two other figures in motion. CoppĂ©lius now realises that he has been taken for the best. As if stunned and numb, he sinks to the floor among the puppets, which do not stop moving - as if they want to make fun of their master's grief.
Act 3: Square in front of the castle. In the background the bell, in front of it a Thespis cart on which the various actors who want to take part in the festivities are positioned. After the bell has been consecrated, the clergy introduce the bridal couples - including Swanilda and Franz - to the lord of the castle. Coppé-lius appears and angrily voices his complaint. Swanilda immediately agrees to pay for the damage from her dowry, but the lord of the castle does not allow this to happen, instead generously throwing Coppélius a purse. Now the signal is given for the opening of the feast. A stooped figure, symbolising time, hands the hourglass to a young bell-ringer and invites him to play the actors with their music.
the young bell-ringer to allow the actors to begin their performance.
The âDivertissementâ begins:
1st âWaltz of the Hoursâ. The hours of the morning.
2 âDawnâ. The goddess of dawn shines, surrounded by blossoms. The hours of the morning dance around her.
3 âPrayerâ. The hour of prayer blesses the new day and floats towards heaven.
4 âLabour (The Spinner)â. At the sign of the bell-ringer, the hours of the morning and Aurora depart; they make way for the hours of the day.
This is the time of labour; a spinner and a reaper begin their day's work.
5 âHymen (village wedding)â. Hymen, the goddess of marriage, approaches with her retinue; she holds a torch in her hand. Accompanied by Cupid, she leads a peasant wedding.
6 âDiscord and warâ.
. This cheerful scene is followed by the appearance of Discord.
She has the deadly war in her wake. The weapons are raised and firelight illuminates the dark sky.
7 âPeaceâ. Peace appears with an olive branch in his hand. Everything calms down. Swanilda's âDanse de FĂȘte, pas seulâ
8 âGalop finaleâ. The hours of evening and night and two jesters appear. They lead a procession. They all dance the final âBallabileâ
(This synopsis is taken from âThe Two CoppĂ©liasâ by Ivor Guest. This was published in connection with the new production of the ballet of the same name by Peter Brinson for âBallet for Allâ and on the occasion of the celebration of the 100th anniversary of the premiere of âCoppĂ©liaâ by the âFriends of Covent Gardenâ)
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Here is the comparison between the original recording (.aiff file) and the .opus file that YouTube creates from it. Using the example of the song Lovemachine by Supermax. https://www.youtube.com/watch?v=sUwSB...
You can see that YouTube cuts off at exactly 20kHz, while the original can still be tracked up to 40kHz. Although I can't really believe that... đ€Šââïž
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Since the streaming platforms nowadays offer a lot of remastered or otherwise "improved" music, it is important to me to show how the music actually sounded on the long-playing records released by the artist at the time.
I hope you enjoy this as much as I do
Recorded on a Tascam DA-3000 digital recorder, the Technics SU-R1000 amplifier and the wonderful Brinkmann Oasis turntable.