Re: Decoding the CD318 Genome

[Jim Morrison <jim_morrison@sprynet.com>]

> Jim Morrison wrote:
>

> >
> > Is there any way to make a "sonic" fingerprint of CD 318 and use that to
> > test that against the other recordings?
> >
> > The same question about the Goldberg Yamaha.
>

john hill wrote:

> Hey, Jim:
>
> The easy answer is "yes".

and then told us how complicated the process would be.


Well Jeez, I was hoping he could just play a few minutes worth of old CD 318
and get a waterfall plot and then do the same for the Yamaha, and been done
with the project in just a few hours.

I had no idea it was so complicated.

Thanks for your informative post.

So what do you think?  Should we go through the recordings from November
1972 onward to the last, plotting CD 318 against other pianos such as the
Yamaha?  I'm up for it.  I would love to do it actually.  Maybe we should
start on the easy stuff first, that is, Yamaha versus Steinway.  When I try
to detect the Yamaha I listen for a somewhat dull, unresonant sound in the
bass chords, not as full a sound as the Steinways.  Anyone else have a
favorite way to play spot the Yamaha?

Also I'm tickled to have had a part in Bradley's epiphany.  Feels like I'm
doing good work.

By the way, the Parmentier English Suites came today.  I've heard about ten
versions of these works and Parmentier is one of the best.  The harpsichord
again has a full, deep tone (for a harpsichord)  Another high recommendation
and if any of you are interested in listening to harpsichord recordings, I
suggest you start with these, that is Bach pieces you are familiar with from
Gould's recordings, and one a great deep-toned instrument, played by a very
exciting harpsichordist.