iggyting

No chance to try one. Read somewhere the D5000 has 'tighter' bass and overall better clarity. Would like to know your comparision. regards,

Have you tried the ATH-W1000 (Audio Technica) for a comparision? I believe they are quite similar. Try it. regards

Can't agree with you more! Perhaps Karajan was using a dynamic headphone afterall. Some time ago, I viewed a video on Leonard Berstein, the iconic American musician, conducting the New York Philharmonic. It was an educational documentary. He fired up the orchestra which was soon in its famous signature sound. Then ,unexpectively, Berstein left the podium and approached the camera while the orchestra played on nonchalantly. Paraphasing him, he asked "So is the conductor necessary?"

"Can't agree with you more" means I agree Sorry! Interesting to know why you think one conductor is better than another. regards

Can't agree with you more. Interesting to know from your own perspective what makes a conductor 'good'? Is it a personal liking or that of other members of the band as well? regards

So it is. Don't you feel a sense of loss that the Karajan's sound is lost? Or maybe it is just different - something to get used to. regards

Actually, with a frequency response 7 - 40K Hz for the home range or 20 - 20k Hz for the portable, Stax earspeakers are more than adequate to cover the audible range in musical reproduction. In fact I find the bass extends lower than most, if not all, dynamic headphones. However, in musical materials which call for "punchy" bass (like rocks) the reproduction "booms" a little. Even for sustained lows (like in the Adagietto in Mahler's 5), I find the reproduction "mutters" - but only for a very transcient moment. Overall, the electrostatics reproductions are uniquely very satisfying and musical. Well, don't look for perfection. If you found it; time to give up HiFi.

Haven't heard this Stax model yet. I am presently using the Stax 303/313 combo also. Yes the electrostatics are very clean and musical. But the usual complaints are that it is lacking in dynamic bass. And so it is a personal preference. I think the past electrostatics like QUAD and Magneplanars did have "arching problems" in this humid climate. However, I heard the Japanese have "designed this problem away" with the Stax range. The two-year combo is still working fine for me. Just don't hold me to it!

HaHaHa! Sounds familiar to all audiophiles. A case of deja vu? I think one should have both set-ups for variety sake. Just when one gets tired of chasing one's tail one way, it is time to chase it the other way.

"....and so foolish... so arrogant...so naive.." Let's drink to that!

Hi, got your audition done? What's ur impressions? I had the pleasure of listening to both the W1000 n W5000 at Stereo Electronics on different occasions. I find the w5000 excellent. But for the money, I find the w1000 very acceptable. So I opted for it. regards, iggyting

Hi Folks, About a decade ago, an Italian motion picture named "Farinelli" was released in the local cinema circuit. It was an operatic offering, something different from the usual action-packed Hollywoods fares, and was well reviewed and received. Following the film, the original motion picture soundtrack, "farinelli" (under Auvidis-TRAVELLING label; musical direction under Christophe Rousset) was released. If you still can find this cd in the local market, I would recommend you to buy it because, not only it is good music, it is also unique for using a synthesised voice! In fact the vocal recordings employed the countertenor voice of Dereck Lee RAGIN and the soprano voice of Ewa MALLAS GODLEWSKA, combined and re-edited in high-precision, in recreating the 'lost' castrato voice of the 16th and 17th century Italian cities. The countertenor providing the lower register and the soprano, the higher. No one now possesses the vocal range - as much as three and a half octaves - of these castrato-singers like Farinelli, Cafarelli or Porporino of these past eras. Why? Because these singers were castrated just before the voice broke from youth to manhood in order to preserve it. In these eras, in comformance to the Italian sensitivities of the day, only male persons were employed to sing in Churches and perform on stages. So in this recording, what you hear is a re-creation. But you hardly noticed it and enthralled by the great vocal, lightly accompanied by the sparse chamber orchestra, under Christophe Rousset. I like particularly the reflective 4th piece, Air de Dario, by Riccardo Broschi, and the melodous 6th, by the great Handel himself, who was then living in Naples. By the way, if you like to listen to somebody in the present days that approaches that of the castrato-voice, I would recommend the Japanese counter-tenor, Yoshikazu Mera, who released, under the BIS label, three cds that I am aware of - Baroque Arias, Romance and Mother's Song (Japanese popular songs). Happy hunting!

.....the Darkvoice Figaro is well-built and surprisingly well-done for a relatively cheap tube headamp..

Hi, how about combining both sets, not as mixed pairs, but in series, and hear whether there is a difference? I did that and was surprised! Better to hear your impression! I wonder what's the 'high' about silver? Anyone to enlighten us?

Having read Fuwen's recommendations recently, I (belatedly) tried my luck on getting hold of Rene Fleming's "The Beautiful Voice" and Huang Hong-ying's "Tasting Loneliness for the first Time". I remember seeing Fleming's Decca recording when it was first released a decade back but gave it a miss then. My interest in her revived lately when she performed in the recent TLOR tri-recordings. As for Huang's it was Fuwen's recommendation that set me looking for it. Also I was a greater fan of Chai Qin than Teresa Teng. Anyway, I was surprised to see the Fleming's in HMV and Huang's (HDCD version)in a shop at Bras Basah Complex. I must say I was not disappointed by both recommendations - thanks Fuwen! Fleming has that rare gift of a vibrato voice that seems to "sing" within a song. Her beautiful voice makes even a dull piece interesting. Among others, the other lady singer who shares this gift is the Korean soprano Sumi-Jo. As for Huang Hong-ying, she is like the mellow and silken voice-version of Teresa and sustains her notes a bit better than Teresa. I think Huang, having ridden on the glamour of Teresa, has the potential to come on her personal own. I am not sure she has moved away from doing a "Teresa" since. One track that shows her potential own is "Barcarole" (# 2), an Indonesian Piece. I thought her rendition brings out the rustic charm of the Batak volcanic region better than Teresa's which sounded more "popish". Track #5, Camellia Flower, by an unknown composer and lyrics writer, sounded like the theme from the recent very successful Korean period drama, "The Jewel of the Palace" aka "Da Jang Jin". Hmm. Which is which, now. The keyboard accompaniment is good on the whole, except in two pieces which I find the piano in jazz style was overwhelming. Just a personal choice. But it is worth listening more of Huang in future.

Hi Folks, in the midst of the Seventh Month we have "Getai" music all over Singapore. Singing to the dead is no laughing matter and money is "sure good enough"! Heard any touching piece lately? Well, I would recommend one hauntingly beautiful funeral piece by Rachmaninoff, who is better known for his popular romantic 2nd Piano Concerto, among others. The piece that I think stands out among the descriptive music in romanticism is Rachmaninoff's "The Isle Of The Dead". The 1976 EMI version by the London Symphony Orchestra, under Andre Previn, remains my favourite. The score gives musical content to a painting of the same title by Arnold Bocklin, which depicts a lone white robbed-hooded ferryman with a coffin on deck a small gondola rolling towards a craggy stand-out deserted Isle of the Dead which entrance to the cave is shrouded by tall cypress trees. The back of the figure is set against the Isle in a dawn setting at the horizon, painting a gloomy and mysterious picture. The music begins with a repeated motive in rythm with the rolling motion, the middle passages give tormented emotional content to the cravings for the lost pleasures of the departed souls interned on the Isle. Towards the ending, the music climaxes as the souls despaired for the ferryman, who after unburdening, rolls away from the Isle with the rythmic motive at the beginning repeated. Previn really makes the LSO "feels" in a superb performance. This may not be frightful music, but it sure sets you thinking about your last journey!

Yeah Steve, so what's wrong with the X-can v3? Can it be repaired n can the tubes be changed? Where to do it? Thanks

Can't help joining in in praise of one of the greatest classical masterpieces of all time - Beethoven Violin Concerto. Wonder why he only wrote one. Maybe it is better to stand out among the classics! Maybe he wrote two-thirds of it. Don't you think the last movement is quite a "disjoint" from the beauty and theme of the first two movements? Some commentators felt that Beethoven came perilously close to mediocrity in the last. The first two movements could stand on its own, like Schubert's "Unfinished Symphony" - it would be Beethoven's "Unfinished Concerto"! HaHaHa! Finished or unfinished, it remains a 'must hear' for all music lovers, generations after generations. Anyway, I think Anne-Sophia Mutter version with the NY Philharmonic, conducted by Kurt Masur, a revealing piece among the many gilded recordings. Compared to her 1980 teenage-piece with the Berlin Phiharmonic under Karajan, the now beautiful lady played with maturity and self-confidence. There is a 2000 DG-label clarinet version by Michael Collins with the Russian National Orchestra, conducted by Mikhail Pletnev. It was coupled with the Mozart's Clarinet Concerto. It is worth a hearing. But the violin is still the king.

HaHaHa...for 50 cents from Candy Shop brings tears to your eyes...LOL

Hi Folks, ever wonder when man started to sing? I like the recent recruitment advertisement where a modern man in suit n tie walking ahead of a group of Neanderthal men, similarly dressed, apparently whistling. It invited protests from some irritated ST readers presumably from the accounting field which I find funny. Did the proto-man (Neanderthal man) started it all? I believe at the beginning , man would have sung to the sacred n the profane. Anyway, I know all music lovers(modern or otherwise) will find solely vocal music appealing. Here I would recommend the sacred music of the Eastern Orthodox Church (besides that of the Western Church) for all music lovers. Not only the music is of the greatest antiqulty, it is music making in the highest order. In this connection, I recommend listening to the CD, Sacred Treasures, Choral Masterworks from Russia (Hearts Of Space label). Let the burb invite you... "The choral music of the Russian Orthodox Church is designed to set the soul soaring beyond earthly cares. Sung by the finest Russian and Bulgarian choirs, this extraordinary collection of transcendent prayers and hymns embraces a timeless tradition of faith and devotion. Lush harmonies float in space, angelic high voices pour down from heaven, deep bass voices arise from the center of the earth, and the great bronze bells toll with awesome grandeur. For sheer beauty, there is little to match it anywhere in the world."

Hi there, I do love all sorts of good music. Although I don't read Chinese( sad for a Chinese), I too love some Chinese folks and classical music. I have a 1984 HK Records Co Ltd version of the "Butterfly Lovers" Violin Concerto by Takako Nishizaki, Nagoya Philharmonic Orchestra, conducted by Lim Kek-Tjiang, with additional 6 Chinese pieces by Nishizaki, accompanied by Seow Yitkin, the pianist. It was very good but I am not sure there were others surpassing this since. Not long ago I acquired a China-made cd on the music from the 1980(?) CCTV production of the famous novel "Hung Lou Meng" (Dream Of The Red Chamber). The suprano was Wu Bi-Xia. It was a very engrossing piece of Chinese music and Ms Wu was just glorious. I wonder anyone come across it. The average recording was a bit highs-ended. Then there was this 50th Anniversary Celebration Series Concert by the Central Philharmonic (China National Orchestra), 2006 TianXian Music Ltd. The compilation comprises quinessential Chinese classics, very well interpreted and played by the Central Philharmonic. My favourite was the first which is a Beijing opera piece with a good intricate-sounding lady voice. I can't read who the conductor was, but his control was disciplined and tight, bringing a very professional high standard to bear from the players. A very well balanced and professional world-class sounding orchestra indeed. Wonder anyone tried it.

Well, life can be funny if not so serious! Perhaps there is pleasure in melancholy? Among many, two great masterpieces of classical music which bring tears to my eyes, if not literally, are the Finale(Adagio Lamentoso) of Tchaikovsky's 6th Symphony, aptly named the "Pathetique" by his brother postumously, and Richard Strauss' 4th song (Im Abendrot) of the "Four Last Songs". These two pieces give vent to melancholy in sublime musical content yet each with a profoundly different denouement. Tchaikovsky in the Finale brings an intensely tragic musical score, ladens with regrets and sadness. The score ends with low and persistent basses fading into oblivion, in my imagery eyes, like a dry-out skeletal barren tree collapsing in a sparse landscape. Shortly after the symphony, Tchaikovsky died. There was rumour of a suicide. Was that how he felt towards the end - an oblivion without redemption? The other, the 4th Song, was a beautiful song-piece with sublime orchestral accompanion. In the 1983 Philip version, the strings of Gewandhaus-Orchester Leipzig, conducted by Kurt Masur, introduce in a silky even-tempo tide for Jessye Norman, the soprano, to phase in. Her soaring voice seems to bide a resigned farewell to a life, sad, perhaps with tinges of regret, yet not without joy. Towards the ending, her voice tails off leaving the drawn-out strings and the flute to end in oblivion. The melancholy was more of a leave-taking than a resignation.

I think modern classical music is not too readily accessible because it presents a radical soundscape, evocating altered states of emotion that may be unfamiliar and unexplored. Anyway, words are just inadequate(I am no wordsmith either). To present some flavours of what I am saying, I would recommend listening to the 1990 DG cd compilation of the advantgarde music of Rihm, Ligeti, Nono and Pierre Bouliez, WIEN MODERN, Wiener Philharmoniker, conducted by Claddio Abbado. First piece - Depart (1988) by Rihm. In this 9-minute piece of absolute music for mixed chorus, speaking chorus and 22 players, quanta of sound, unrelated and discrete, stream about in a dark void. No imagery scene, just a soundscape. Second piece- Atmospheres (1961) by Ligeti. As the name suggested, grand orchestral sounds create a rarified atmospheric feeling, suffocating towards the end as the atmosphere depleted. Third piece - Lontano(1967), also by Ligeti. The grand orchestral sounds stream past as in a light-speed space travel to infinity. Fourth piece - Liebeslied(1954) by Nono. The mixed chorus and instruments present discrete absolute sounds in pockets, like echoes in a caveneous setting(a temple?), with bells in cueing moments. The Fifth piece, comprises 4 short movements, Notations 1-1V(1945/1978) by Pierre Boulez. Here the music draws into the dark mental soundscape, with columns of sound appearing and disappearing, (frozen angts, dark nuerosis?), shattering claps of sound towards the end, chaotic and in flashes, like inside a nueral brainstorm. This is my 'feel' for the music. It opens up a new soundscape and horizon. Others may (should) experience different evocations. Is the music entertaining? Not in the conventional sense but it is sure eerie and mysterious, but very interesting! Try it.

Anyone game for modern classical music? I was initially put off by this advant-garde, 'new' trend music (-not so new actually; started off in the early 20th century). The discordant chords, non-melodious, apparently 'illogical' anti-music (as compared to the traditional fares) sounded too alien for my ears. However, as in all artistic and creative movements, there are 'bad' music in the traditional fares as in the advant-garde. Opinions are divided over what make a piece of music great - should the audiences' acceptance in time be the ultimate judge? Anyway, if you are keen to explore 'modern' classical music, do try to listen to a good representative compilation in the 1995 BMG "Music At The Edge" under RCA Victor (red seal) label. It brings together the musics of Tavener, Hersch, Markevitch, Gorecki, Artyomov, MacMillan, Wolfpe, Messian, Glass and Part. The recent past seen the musics of these masters coming into general acceptance. Examples of Henryk Gorecki (3rd symphony) and Arvo Part(Fratres) come into mind. Modern classical music cds are harder to come by these days in the Singapore market as local retailers play safe selling accepted masterpieces and reissues. Sad

How about that Allan Sherman summer camp song "Hello muddah, Hello Faddah" (1990?). Can't help bursting into tears laughing each time I hear it!