Jeff of Arabica
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Last but not least, The Palomino Mix tape review. It is long, but there were 14 unique tracks to listen to and compare. In my opinion, this is what made this Tour incredibly special. I think you will find this one very interesting. That is why I saved this one for last. I knew it would be the most fun and fascinating of all the tapes, just because of what it is, and the comparison it allows. This is Steve’s earlier post about this specific tape:
This tape is a never been heard before demonstration of a re-mastering process I have been developing over the years that has the ability to transmute digital back to analog and does so without a computer, solid state parts, nor even a circuit board. It's a 100% analogue process... organic, non GMO if you will.
Since the only way to hear this process is to have an analog playback system and since I can't press records here at Decware, I am taking this opportunity to let all of you hear it by making the entire first tape using it.
It's important to understand that the source for this tape was not high resolution digital files, nor even rebook CD, but rather a stream from the internet at 320 kbps, which is how so many of us are now listening to digital with our computers. I figure if the process actually works, it will work on that.
This gives those of you who get on the list to hear the tapes, an opportunity to do direct side by side comparisons of the tracks on the tape with the original source tracks from the internet.
That is exactly what I did. With the other tapes, there were no digital streams available to bring up for direct A/B comparisons. So, for this tape, I connected the Samsung VHS player and my PS Audio DirectSteam DAC, to my Zen Ultra Pre-Amp. The Ultra has multiple inputs and a switch, which allowed me to cue up the same track on two separate source - the SVHS tape and Tidal steam. To set the foundation of this comparison, I used the Hi-Fi subscription service of Tidal, which produced 16-bit, 44 kHz playback with 650+ kbps data rates, some much higher as you will see. Apart from one, every Tidal track was at least twice the data rate of the Deezer source used by Steve to create this tape through his remastering process. That is really what made this review and comparison so very intriguing and interesting. Important to consider during this head-to-head, my streaming setup is pretty stellar. My Huron based DirectStream DAC, with the Bridge II network card, offers native support for Tidal, which streams directly to the DAC, no computers involved. It also will do a full unfold of MQA, but even when available for some of these tracks, I chose not to select the MQA option as that would not be a fair comparison.
In this side-by-side comparison, the tape and Tidal tracks were started at the same time so that throughout the entire song, I could simply flip the input switch in real-time to bounce back and forth between the SVHS tape and Tidal. It was an extremely effective (seemingly ideal) means to compare.
After completing my review of all 14 tracks, I then played the master reel dub of This Palorino Mix that Steve made for me. I spun it on my SonoruS custom tube staged R2R machine with its accompanying SonoruS tube-based playback pre-amp. It was an amazing listen through my system! I interjected some relative comments below as you will see.
Track 1 - A Kiss to Build a Dream On (Mislabeled as “Novocaine”): Tidal did not have this track available for streaming. I had a DSD version of it on optical disk, but not appropriate for this comparison. All in all, I felt as though this track played very well on my system. The strings and vocals were palpable, and the bass and treble extension were satisfying. I have heard the digital version of this song many, many times in the past, so it was nice to hear it on tape playback. It was velvety and smooth with a deep, dark background.
Track 2 - California Dreamin’: (693kbps stream) This is obviously a famous song and one I have heard many times. Unlike Track 1, this was available on Tidal for comparison. Once significant difference immediately apparent was the vocals on tape. It is hard to describe, but they sounded like a “hall” effect was applied compared to the stream which made it sound slightly processed.* Despite this, the tape offered superior presence of both voice and instruments. This made the track on tape feel more real. It was a bit shouty at times,* but overall I preferred the tape due to better dynamics and realism. Overall, the Tidal track was a bit tighter, such as in the piano notes, but the tape was more exciting to listen to. *Not present on Palorino Mix master reel dub
Track 3 - Fanfare for the Common Man: Central Band of the Royal Air Force (Mislabeled as “Zill Bell”): (Unknown date rate for stream) I could not determine the actual performers of this track on this mix tape, so I threw a dart and selected a version by Alan Copland on Tidal. Both were very similar, except for the bass which was much better on tape. Steve’s descriptor of “OK – fuzzy ending” on the song list sheet was accurate. The kettle drum at the very end was grossly distorted, but the rest was fine. The dynamic range was impressive, even on this VHS rig. The transient response was honorable.
Track 4 – Blue Moon: (Unknown data rate for stream). Noticeable difference between the two sources. The tape was much more expressive, particularly when it came to the cymbals and snare drum. The stream in comparison felt as though it was veiled. Also, on tape the band came off as being staged closer to the listener. However, I did not like the guitar on tape as it was very echo-ey at times. The vocals on both tracks were very similar, but the singers voice was more resolute on tape - her breath audible. The singer was staged slightly left of center on tape*, where on the stream it was front and center, which I preferred. *I found this to be the case on more than one track leading me to believe the right channel output voltage on the Samsung might be marginally less than the left channel output.
Track 5 – Iron Hand: (Unknown data rate for stream). Overall, they were both comparable, but the bass on the stream was appreciably better. It was tighter, fuller, bigger. Great reference track for bass quality evaluation. And the distorted bass note that Steve mentioned was quite apparent – making me cringe. The guitar notes were very similar between the two. I would be splitting hairs to name a winner in that category. The vocals were also similar, but like in Track 4, the imaging was slightly better in the stream, but the tape gave it a more natural tone.
Track 6 – After the Storm: (Unknown data rate for stream). As was the case in Track 5, the bass was much better on the stream, in my opinion. It was rather anemic on tape. But, for a tape track created from a 320 kbps stream, wow! Nit picking here, but the fingers rubbing across the strings was more prominent on the stream. The cymbal strikes were more forward on tape, which as a drummer, I enjoyed. Overall, I felt there was better soundstaging on the stream. The tape was a little too laid back comparatively. This could simply be a byproduct of resolution. On the tape, there was a bit of a channel mix-up which reversed the L and R information on the tape. This made the A/B exercise a bit distracting at first, but I adjusted.
Track 7 – Take the “A” Train: (666 kbps stream) Similar sound quality but lack of right channel info on tape.* Overall, the subtleties in the stream were more voluminous and with greater detail, especially the guitar reverb and string resonance. I preferred the xylophone on tape. It was natural and controlled. On the stream it was a bit shrill at the higher registers. All in all, this was a battle to the finish. Very impressive reproduction on the tape. The stream was twice the data rate, yet the tape held its own. If I had to choose, it would be the stream by a hair. Only because the movement of sound and the soundstage was a bit better rendered on the stream. *Not the case on the Palorino Mix master reel dub, making me further suspect the right channel output voltage level on the Samsung.
Track 8 – Ophelia: (862 kbps stream) The vocals were a bit echo-ey (similar to Track 4) on the tape making the stream more resolute. To an extent, this trampled the piano at times, but during lulls in the vocals the piano notes came through with harmonic richness and resonated beautifully. While the tone and timbre were very good in both the tape and stream, superior decay resulted in a more lifelike experience on tape. This was a very dynamic track and reproduced excellently on tape. Considering it was produced from a 320 kbps source, compared to the 862 kbps Tidal stream, it is hard to believe how good it actually sounds, especially when you also factor in the equipment. Nuts!
Track 9 – And I Love Her: (515 kbps stream) Tape: Sweet, lush sound. Resonant. Authentic. Tight. Stream: Distant (Guitar in particular). Slightly processed. Less natural. This was a dream song to real-time A/B compare as it was so consistent throughout. I could really focus on the nuances. Actually, both the tape and streamed tracks sounded quite nice. However, the stream presented more akin to a fine studio performance whereas the tape seduced me into believing I was a spectator in the audience of a quaint venue. The tape wins here. Note: Tape’s R & L channel reversed.
Track 10 – Deeper Well: (832 kbps) Like Track 9, I enjoyed listening to this song on both the tape and the stream. This was another very effective one to A/B in real-time. Over the last year, I feel as though I have listened to enough analog tape to have a good sense of its signature, in general. And this exercise has only honed it further. For those who get on this Tour and listen to this rig, you too will be able to blindly listen and say, “that was tape,” or “that was digital.” I preferred the tape for no other reason than it sounds like tape. I felt the details were similar, but the tape has a silkiness to the sound that I adore. For me, it emulates “real” better than that of the hi-fi Tidal stream. Though there was one exception. The violin solo was much better on the stream. It was more refined. On the tape, it was intense to the point of being aggressive and sloppy.* It simply fell apart.* On the flip side, the applause and female vocals were more realistic. Note: R & L channel reversal. *Not the case on the Palorino Mix master reel dub
Track 11 – Stormy Monday: (874 kbps) So, this was a higher data rate stream, which sounded great through my system. The tape was also a great reproduction of this song, Stormy Monday. This was a recording of a live performance. I felt the tape handedly bested the stream in dynamic range, creating a more exciting listening experience. The drums and cymbal crashes in particular were coming off very sincere. It was this honesty in the instruments that created a sense of presence during the performance. I do have a couple gripes. At points in the performance it was strident, and if played repeatedly, it could become fatiguing.* Also, there were times, similar to a couple of the other tracks, where the vocals were plagued by that echo-ey effect. Otherwise, this was a great track - especially considering its opponent, an 874 kbps stream. *Much less of an issue on the Palorino Mix master reel dub
Track 12 – Tall Trees in Georgia (Live): (767 kbps) This one may be too close to call. They both were pretty on par with one another and if 10 people were polled, I would suspect that 5 would choose the tape, and the other 5 the digital stream.* If forced to choose, I would select the tape only because there were moments where Eva’s voice and her guitar were more convincing. *All 10 would choose the Palorino master dub if they heard it
Track 13 – Stormy Monday - Allman Brothers Band: (1633 kbps) Here wer are dealing with two very different sound characteristics. Overall, the stream had better soundstaging, detail (guitar distortion), and instrument separation. Unfortunately, the tape lacked bass volume and punch, which made it sound somewhat thin. Also, cymbal runs get muddled in parts and become distracting.* But, the tape has its moments of glory. I found the vocals coming off more realistic, along with some of the guitar runs. They were more forward, more charismatic, and more “in the flesh.” The resolution of thisstream was much higher than the others, and factoring in the good and the bad with the tape track, the decision would go to the stream, but if this bout was fought in a ring, as opposed to a listening room, it would not be unanimous. *Not the case on the Palorino master dub. While bass was still thin, this track sounded SO MUCH better on my R2R rig.
Track 14 – Misty: (602 kbps) In my opinion, this is the best track to simply compare the flavor of analog tape sound - compared to the flavor of digital sound. In my system, the two tracks were so similar in all regards, trying to differentiate them would be nothing more than an exercise in splitting hairs. So, after two runs of A/B switching and attempting to take notes, I realized it was pointless. From that point on, I simply focused on the “flavor” and had a great time comparing nothing more than the fact that one was being played from analog tape and the other a digital source.* If you feed the digital stream well enough, this is your analog tape vs. digital “sand box.” *The master reel sounded AMAZING!
For this particular comparison experience alone, I really hope people take advantage of this Tape Tour opportunity. Even if you are short on time and can only toss up a one paragraph review of your overall experience, that is fine. Whatever works for you. Just do it! You won't regret it, I promise.
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