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New Jecklin Float QA !!! - Page 21

post #301 of 663
Quote:
Originally Posted by complin View Post

Is this the BBC live recording with Dame Janet Baker as the soprano you are referring to ?

 

No. I am not familiar with the BBC live recording. It is a RCA recording with Brigitte Fassbender/MS, Margaret Price/S and London Symphony Orchestra & Chorus, recorded 22, 25, 27 July and 10, 11, 14 August 1975 in Walthamstow Assembly Hall, London. RCA Gold Seal 2LP digitally remastered ( sorry, I was Johny Come Lately in this case to enjoy original analog pressing ) DMM Direct Metal Mastering   German presssing  GL85392(2)    EAN  0035628539212

 

Stokowsky was 92 at the time: http://store.acousticsounds.com/includes/image_browser.cfm?title_id=86318

post #302 of 663

Review from the Guardian newspaper http://www.guardian.co.uk/music/2004/feb/13/classicalmusicandopera.shopping2

 

 

Mahler: Symphony no 2, Woodland/ Baker/ BBC Chorus and Choral Soc/LSO/Stokowski

 

The Proms have rarely seen such a great event as the first ever performance in that festival of Mahler's Second Symphony, the Resurrection. At the time - 1963 - it was still a rare work in British concert halls, involving as it does immense forces, including a vast array of brass and massed choruses. William Glock, then BBC controller of music, was determined that his Prom performance would make a special mark. Shrewdly, he chose as conductor Leopold Stokowski, 81, who had become something of a legend.
 
Though Stokowski, born in London, had made sporadic visits to this country, he was still very much based in the US, his reputation resting on his unique achievement as conductor of the Philadelphia Orchestra from 1912 onwards. His reputation here rested largely on his many high-powered recordings, as well as the Disney film Fantasia.
 
In the event, the performance of Mahler Two exceeded all expectations, for here was a larger-than-life reading of an apocalyptic work. The response of the audience at the end was so prolonged and so enthusiastic that - against the strict Prom rule of the time - Stokowski gave an encore, repeating the final visionary choral sequence. Even critics who dismissed Stokowski as a publicity-seeker were bowled over, recognising that here was music-making of exceptional power and intensity.
 
On disc at last, this BBC Legends recording confirms that the legends were true. It is only a couple of months since John Barbirolli's rich and powerful reading of this very work with the Berlin Philharmonic appeared on disc, also recorded live. Yet the impact of the Stokowski performance is even greater, with Janet Baker again the dedicated mezzo soloist, this time joined by the fresh-toned Rae Woodland.
 
Stokowski is more urgent than Barbirolli, lighter in the second movement Andante, more sinister in the Scherzo, leading to a shattering rendering of the Judgment Day finale, with the BBC Chorus, Choral Society and attendant choirs as intense in their hushed singing as in the extrovert power of the climaxes. It makes an overwhelming experience, marred only slightly by the inevitable audience noises.
 
Meanwhile, Testament has followed up its Barbirolli version of Mahler Two with his 1966 account of the enigmatic Sixth Symphony, in another radio recording, again with the Berlin Philharmonic on superb form. It is a reading markedly faster than Barbirolli's studio recording of the following year, which builds to a full-blooded account of the long finale, bringing out its fantasy as well as its power. The mono sound cannot compare with that of the studio version, but the impact of the whole is comparably great.
Quote:
Originally Posted by analogsurviver View Post

No. I am not familiar with the BBC live recording. It is a RCA recording with Brigitte Fassbender/MS, Margaret Price/S and London Symphony Orchestra & Chorus, recorded 22, 25, 27 July and 10, 11, 14 August 1975 in Walthamstow Assembly Hall, London. RCA Gold Seal 2LP digitally remastered ( sorry, I was Johny Come Lately in this case to enjoy original analog pressing ) DMM Direct Metal Mastering   German presssing  GL85392(2)    EAN  0035628539212

 

Stokowsky was 92 at the time: http://store.acousticsounds.com/includes/image_browser.cfm?title_id=86318

post #303 of 663
Quote:
Originally Posted by complin View Post

Review from the Guardian newspaper http://www.guardian.co.uk/music/2004/feb/13/classicalmusicandopera.shopping2

 

 

Mahler: Symphony no 2, Woodland/ Baker/ BBC Chorus and Choral Soc/LSO/Stokowski

 

The Proms have rarely seen such a great event as the first ever performance in that festival of Mahler's Second Symphony, the Resurrection. At the time - 1963 - it was still a rare work in British concert halls, involving as it does immense forces, including a vast array of brass and massed choruses. William Glock, then BBC controller of music, was determined that his Prom performance would make a special mark. Shrewdly, he chose as conductor Leopold Stokowski, 81, who had become something of a legend.
 
Though Stokowski, born in London, had made sporadic visits to this country, he was still very much based in the US, his reputation resting on his unique achievement as conductor of the Philadelphia Orchestra from 1912 onwards. His reputation here rested largely on his many high-powered recordings, as well as the Disney film Fantasia.
 
In the event, the performance of Mahler Two exceeded all expectations, for here was a larger-than-life reading of an apocalyptic work. The response of the audience at the end was so prolonged and so enthusiastic that - against the strict Prom rule of the time - Stokowski gave an encore, repeating the final visionary choral sequence. Even critics who dismissed Stokowski as a publicity-seeker were bowled over, recognising that here was music-making of exceptional power and intensity.
 
On disc at last, this BBC Legends recording confirms that the legends were true. It is only a couple of months since John Barbirolli's rich and powerful reading of this very work with the Berlin Philharmonic appeared on disc, also recorded live. Yet the impact of the Stokowski performance is even greater, with Janet Baker again the dedicated mezzo soloist, this time joined by the fresh-toned Rae Woodland.
 
Stokowski is more urgent than Barbirolli, lighter in the second movement Andante, more sinister in the Scherzo, leading to a shattering rendering of the Judgment Day finale, with the BBC Chorus, Choral Society and attendant choirs as intense in their hushed singing as in the extrovert power of the climaxes. It makes an overwhelming experience, marred only slightly by the inevitable audience noises.
 
Meanwhile, Testament has followed up its Barbirolli version of Mahler Two with his 1966 account of the enigmatic Sixth Symphony, in another radio recording, again with the Berlin Philharmonic on superb form. It is a reading markedly faster than Barbirolli's studio recording of the following year, which builds to a full-blooded account of the long finale, bringing out its fantasy as well as its power. The mono sound cannot compare with that of the studio version, but the impact of the whole is comparably great.

Thank you very much for the Stokowski 2nd information. Must have been great heard live. Stokowski was and is underrated due to his rather flashy appearence and self promotion in eyes of some/many, yet when he took matters seriously , his performances were Art with capital letter.

 

Been busy with audio EQUIPMENT too much lately, working round the clock for months now. Hope when this settles down to a more reasonable level, some time for listening to the great music from the past will appear..

But for now, it is unfortunately only a dim speck of light at the end of a tunnel of unknown lenght, I am afraid.

 

Enough time has passed since I went through most of my 2nds that they may well appear in new light.  Musicians have been known to record same music more than one time, in order to document their perception of a particular piece of music with the passage of time - and listening to a recording first heard in one's teens and many years later certainly leaves different impression. I am really looking  forward to the experience.

post #304 of 663

Does the Float QA come with any kind of storage or display box in addition to the standard packaging? Thanks for any info

    No, there is no storage or display box. 

 

Dear Analogsurviver   thanks for the info on Stokowski's Mahler 2nd.  I will try to get one from amazon


Edited by kiertijai - 11/25/12 at 7:04pm
post #305 of 663

I have tested the speaker out of the Jecklin transformer today.

I connected the speaker out via DIY speaker adapter cable to 4 pin XLR (using Kimber Kable cable)

I tried with the HE6 using its stock cable .  The sound came out beautifully , better than the sound when

I used my balanced beta22 to drive the HE6.  I think the better sound quality is due to the ZH230 amplifier

but the speaker post function should be very good too. Not a lousy transformer box.

I used less volume to drive  the HE6 , may be 30-50% less than I used to drive the new Jecklin Float. 

I think this set up may be more than enough (or even overkill) the AKG K10000, HD800 and Sony MDR R10.

post #306 of 663

Unfortunately although the BBC recording is live it is in mono.  I does manage to capture much of the Royal Albert Hall acoustic without the echo it used to have before the mushrooms were fitted on the ceiling.

 

The other great interpretations IMHO worth listening to besides the Solti I feel are

-   Leonard Bernstein's third recording (DG 423 395-2) a performance recorded "live" in New York in the 1980's

-   Great Conductors of the 20th century Sir John Barbiroll Label: EMI Classics ASIN: B00005UUP0

-  Klemperer "live" in Munich on EMI (CDM 566867-2)

-  Simon Rattle City of Birmingham Symphony Orchestra EMI Great Recordings of the Century 345 7942

 

Quote:
Originally Posted by analogsurviver View Post

Thank you very much for the Stokowski 2nd information. Must have been great heard live. Stokowski was and is underrated due to his rather flashy appearence and self promotion in eyes of some/many, yet when he took matters seriously , his performances were Art with capital letter.

 

Been busy with audio EQUIPMENT too much lately, working round the clock for months now. Hope when this settles down to a more reasonable level, some time for listening to the great music from the past will appear..

But for now, it is unfortunately only a dim speck of light at the end of a tunnel of unknown lenght, I am afraid.

 

Enough time has passed since I went through most of my 2nds that they may well appear in new light.  Musicians have been known to record same music more than one time, in order to document their perception of a particular piece of music with the passage of time - and listening to a recording first heard in one's teens and many years later certainly leaves different impression. I am really looking  forward to the experience.

post #307 of 663

I have some quiet time this evening so I have tried to listen to Mahler 2nd Urlicht + Final movement

Sunday afternoon was not a good time for me.  I concentrated on the transition of the Urlicht and the Final

movement "The Terror of the Fanfare", the quiet part, the offstage horn & brass, the soprano & contralto singing

 and the final Chorus and orchestration.

I prefer Zinman's recording to Slatkin's  so I use Zinman's to listen to both HE6 vs new Jecklin float QA.

HE6 played " The Resurrection"  very beautifully with excellent dynamic range and very good bass extension.

However the new Jecklin Float bettered the HE6 in term of dynamic range , bass extension, microdetails,

with fuller sound.  More importantly the Jecklin Float QA gave me excitement and involvement that HE6 or even SR009

did not give me for this kind of music .  Only HE90 + Aristaeus Amplifier with GEC B759's as drivers does that. 

Yes, the new Jecklin float QA do "The Resurrection" justice.

I think it's time for me to open the HE90 box, GEC B759's boxes and Sony MDR R10 cases.


Edited by kiertijai - 11/26/12 at 6:30am
post #308 of 663

Sounds really promising.  The original float could become a tad bright on some recordings but not to the extent it became unlistenable.  I put the issue to some extent down to the DAC used to use and the recording.  Since I moved to a non up-sampling filterless DAC many of those issues have gone away

 

Quote:

Originally Posted by kiertijai View Post

I have some quiet time this evening so I have tried to listen to Mahler 2nd Urlicht + Final movement

Sunday afternoon was not a good time for me.  I concentrated on the transition of the Urlicht and the Final

movement "The Terror of the Fanfare", the quiet part, the offstage horn & brass, the soprano & contralto singing

 and the final Chorus and orchestration.

I prefer Zinman's recording to Slatkin's  so I use Zinman's to listen to both HE6 vs new Jecklin float QA.

HE6 played " The Resurrection"  very beautifully with excellent dynamic range and very good bass extension.

However the new Jecklin Float bettered the HE6 in term of dynamic range , bass extension, microdetails,

with fuller sound.  More importantly the Jecklin Float QA gave me excitement and involvement that HE6 or even SR009

did not give me for this kind of music .  Only HE90 + Aristaeus Amplifier with GEC B759's as drivers does that. 

Yes, the new Jecklin float QA do "The Resurrection" justice.

I think it's time for me to open the HE90 box, GEC B759's boxes and Sony MDR R10 cases.

post #309 of 663
Quote:
Originally Posted by kiertijai View Post

I have some quiet time this evening so I have tried to listen to Mahler 2nd Urlicht + Final movement

Sunday afternoon was not a good time for me.  I concentrated on the transition of the Urlicht and the Final

movement "The Terror of the Fanfare", the quiet part, the offstage horn & brass, the soprano & contralto singing

 and the final Chorus and orchestration.

I prefer Zinman's recording to Slatkin's  so I use Zinman's to listen to both HE6 vs new Jecklin float QA.

HE6 played " The Resurrection"  very beautifully with excellent dynamic range and very good bass extension.

However the new Jecklin Float bettered the HE6 in term of dynamic range , bass extension, microdetails,

with fuller sound.  More importantly the Jecklin Float QA gave me excitement and involvement that HE6 or even SR009

did not give me for this kind of music .  Only HE90 + Aristaeus Amplifier with GEC B759's as drivers does that. 

Yes, the new Jecklin float QA do "The Resurrection" justice.

I think it's time for me to open the HE90 box, GEC B759's boxes and Sony MDR R10 cases.

How does it compare to the Audeze LCD3? As that's the only other headphone i'm thinking about buying.

post #310 of 663
Quote:
Originally Posted by kiertijai View Post

I have some quiet time this evening so I have tried to listen to Mahler 2nd Urlicht + Final movement

Sunday afternoon was not a good time for me.  I concentrated on the transition of the Urlicht and the Final

movement "The Terror of the Fanfare", the quiet part, the offstage horn & brass, the soprano & contralto singing

 and the final Chorus and orchestration.

I prefer Zinman's recording to Slatkin's  so I use Zinman's to listen to both HE6 vs new Jecklin float QA.

HE6 played " The Resurrection"  very beautifully with excellent dynamic range and very good bass extension.

However the new Jecklin Float bettered the HE6 in term of dynamic range , bass extension, microdetails,

with fuller sound.  More importantly the Jecklin Float QA gave me excitement and involvement that HE6 or even SR009

did not give me for this kind of music .  Only HE90 + Aristaeus Amplifier with GEC B759's as drivers does that. 

Yes, the new Jecklin float QA do "The Resurrection" justice.

I think it's time for me to open the HE90 box, GEC B759's boxes and Sony MDR R10 cases.

Great news. Seems QA version did adress most, if not actually all, drawbacks from the previous incarnations. Otherwise your impresions would not have been so favourable - Ressurection is as demanding regarding reproduction as it gets. I have a huntch that opening the boxes mentioned will not  appreciable change things - Orpherus/009 are very similar and inherently inferiour due to requirement to use earpads. Never heard either, but  the laws of physics are what they are - and they do favour ear speaker over headphone..

post #311 of 663
Quote:
Originally Posted by complin View Post

Unfortunately although the BBC recording is live it is in mono.  I does manage to capture much of the Royal Albert Hall acoustic without the echo it used to have before the mushrooms were fitted on the ceiling.

 

The other great interpretations IMHO worth listening to besides the Solti I feel are

-   Leonard Bernstein's third recording (DG 423 395-2) a performance recorded "live" in New York in the 1980's

-   Great Conductors of the 20th century Sir John Barbiroll Label: EMI Classics ASIN: B00005UUP0

-  Klemperer "live" in Munich on EMI (CDM 566867-2)

-  Simon Rattle City of Birmingham Symphony Orchestra EMI Great Recordings of the Century 345 7942

 

I did listen to the Stokowsky BBC live recording of finale on YT  http://www.youtube.com/watch?v=gv1HMlTU0R0  I have to try it on speakers, as I generally find mono objectionable on headphones and earspeakers - too much removed from the sound heard live, here I mean particularly extreme in-the-head localization.

 

I guess your other suggestions will soon make me say I have > 15 interpretations of Mahler's 2nd; I have heard favourable comments regarding Rattle, been curious what Bernstein did live, respect Barbiroli's Mahler's 5th, prepared myself to (most probably ) mono of some great Klemperer ...

post #312 of 663

Felt happy to know that Jecklin will be available from Quad-Music Germany.

post #313 of 663

My hunch is that the Orpheus will have more impact in the bass, as it has the deepest if not the most tuneful I have ever heard on an electrostatic.  The sounstage is probably less focused than the Jecklin though as I believe it is  diffuse-field equalised

 

I have my doubts about the 009 as personally, I have been rather disappointed with it compared to the 007 Mk1.  The soundstage i'm sure will be excellent but to me it sounds thin and lacks body, great bass and bright top end but lacks the glorious mid range of the 007Mk1.  The 009 just does not sound natural or neutral to my ears, or worth the premium price (double the cost) over my current Stax. 

 

Quote:
Originally Posted by analogsurviver View Post

Great news. Seems QA version did adress most, if not actually all, drawbacks from the previous incarnations. Otherwise your impresions would not have been so favourable - Ressurection is as demanding regarding reproduction as it gets. I have a huntch that opening the boxes mentioned will not  appreciable change things - Orpherus/009 are very similar and inherently inferiour due to requirement to use earpads. Never heard either, but  the laws of physics are what they are - and they do favour ear speaker over headphone..


Edited by complin - 11/27/12 at 4:53am
post #314 of 663

Two three things.

 

1. These do indeed sound amazing. When they work.

 

2. I'm having a very worrisome issue with the right driver crackling and cutting in and out constantly. I'm hoping it goes away, as it seems to have for kiertijai. Because so far I'd say the problem is bad enough to make these unlistenable.

 

Edit:

 

3. Squealing in the left driver now and then as well. Brilliant.


Edited by MuppetFace - 11/27/12 at 5:38am
post #315 of 663

Dear Muppetface,  Very sorry to hear that you have the same problem as Sam73

      Have you tried the speaker out ?  Is it working?  If it works it may be the problem of the headphone , not

the trasnformer box.  Sending the headphone only back to check is easier than sending both headphone and transformer.

 

 

Dear tintin40

     IMO, Jecklin Float wins hands down, no match.

     Please wait until the QA issues have solved.

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