<div>You are correct. I do not waste time with gaming... And if I want to make music, I'll play a real instrument. I'd rather listen to music as an end in itself, with full attention on nothing but the music. Video games are partly responsible for marginalizing the value of listening to music as an end in itself in our culture, given they dominate the youth market, that once was far more focused on listening to music as a consuming and compelling experience, without gaming or video added; and said youth market was greatly responsible for financing the music recording industry, which has been decimated in recent decades, as disposable youth dollars have shifted away from recorded music to video games.</div>
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<div>Ted Moffett <br><br></div>
<div class="gmail_quote">On Tue, Oct 6, 2009 at 6:18 AM, Dan Carscallen <span dir="ltr"><<a href="mailto:areaman@moscow.com">areaman@moscow.com</a>></span> wrote:<br>
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<p><font color="maroon" size="2" face="Comic Sans MS"><span style="FONT-FAMILY: 'Comic Sans MS'; COLOR: maroon; FONT-SIZE: 10pt">I look forward to hearing Ted expound the virtues of the new Beatles Rock Band, but somehow don’t see him jamming away on an Xbox . . .</span></font></p>
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<p><font color="maroon" size="2" face="Comic Sans MS"><span style="FONT-FAMILY: 'Comic Sans MS'; COLOR: maroon; FONT-SIZE: 10pt">DC</span></font></p></font>
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<p style="MARGIN-LEFT: 0.5in"><font size="2" face="Tahoma"><span style="FONT-FAMILY: Tahoma; FONT-SIZE: 10pt">-----Original Message-----<br><b><span style="FONT-WEIGHT: bold">From:</span></b> <a href="mailto:vision2020-bounces@moscow.com" target="_blank">vision2020-bounces@moscow.com</a> [mailto:<a href="mailto:vision2020-bounces@moscow.com" target="_blank">vision2020-bounces@moscow.com</a>] <b><span style="FONT-WEIGHT: bold">On Behalf Of </span></b>Ted Moffett<br>
<b><span style="FONT-WEIGHT: bold">Sent:</span></b> </span></font><font size="2" face="Tahoma"><span style="FONT-FAMILY: Tahoma; FONT-SIZE: 10pt">Monday, October 05, 2009</span></font><font size="2" face="Tahoma"><span style="FONT-FAMILY: Tahoma; FONT-SIZE: 10pt"> </span></font><font size="2" face="Tahoma"><span style="FONT-FAMILY: Tahoma; FONT-SIZE: 10pt">9:33 PM</span></font><font size="2" face="Tahoma"><span style="FONT-FAMILY: Tahoma; FONT-SIZE: 10pt"><br>
<b><span style="FONT-WEIGHT: bold">To:</span></b> Moscow Vision 2020<br><b><span style="FONT-WEIGHT: bold">Subject:</span></b> [Vision2020] Happy News: Beatles Entire Studio Catalog NewlyRemastered On CD A Worthy Effort</span></font></p>
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<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">I have listened carefully to a number of these new remasterings of the Beatles' albums, and find the new versions on CD worthy for the improved sound quality; and in making this evaluation, I should add that I found the sound quality of the first 1987 CD releases of the Beatles' albums disappointing. Forget about lower resolution formats... MP3 is the work of the dark side... If only the entire Bealtes' catalog would be released on SACD.</span></font></p>
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<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">I could expound at length, but I'll let Stereophile's Robart Baird save me the effort (my impression of the musical experience of listening to these new remasters was very similar to Baird's commentary, before I read his comments). I agree with Baird that the high quality vinyl versions of some of the Beatles' albums are still compelling, though I think some of these new remasterings on CD approach the musicality of the best vinyl versions. "Sgt. Peppers" on the Parlophone UK vinyl pressing is amazing, clearly better than the first 1987 CD release; the new CD remastering of this album is clearly superior to the earlier CD version, enough to compare it to the Parlophone UK vinyl:</span></font></p>
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<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt"><a href="http://blog.stereophile.com/musicroom/robertbaird/the_new_beatles/" target="_blank">http://blog.stereophile.com/musicroom/robertbaird/the_new_beatles/</a>#</span></font></p>
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<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">Using my Musical Fidelity Nu-Vista 3D CD player—which by the way is a great machine that I have always adored—at the exact same volume, the first thing you notice when you A-B new against old is that sonically the new transfers make the originals sound flat and one–dimensional. There is a newfound fullness, multi-dimensionality and also a sense of space that the originals lack. On first listen, this new sonic heft can easily be mistaken for loudness, for compression, but it’s really just a wider dynamic range and the presence of <i><span style="FONT-STYLE: italic">more music</span></i> that you’re hearing. In the stereo CD of <i><span style="FONT-STYLE: italic">Rubber Soul</span></i>, I A–B’d “Drive My Car” repeatedly against the 1987 originals and the audible differences for me came down to several things: increased separation and clarity between instruments, a more expressive, luxuriant emotional tenor, and an exquisite and exacting sense of bringing out and enhancing details like the roundness of the bass line or the edge on the vocals, which were always there but which are now so much more alive and present in the mix. </span></font></p>
<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">After listening for the past few days, several sonic constants have appeared. The contributions of Paul and Ringo, alone and as a rhythm section are now more prominent. Paul’s bass is now something you can regularly hear and be impressed by. Ringo’s tambourine on “Got To Get You Into My Life” (from <i><span style="FONT-STYLE: italic">Revolver</span></i>) now sounds like a glorious idea come to fruition. Another “Gee, I never heard that before,” moment comes from the layering, particularly of the vocals, which is now so much more defined. On “Doctor Robert,” again from <i><span style="FONT-STYLE: italic">Revolver</span></i> (a lesser tune that I, of course, have a cheesy affinity for), the harmonies have a new energy. </span></font></p>
<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">Energy, in fact, may be the word that best describes the positive sonic alterations inherent in the new remasters. What you really hear is an audible new jolt of energy. Words like cogency, potency and sparkle also apply. This music, on the medium of CD, is suddenly more alive than ever before. Best of all the CD format’s worst quality, that cold digital brightness that’s made so many CD transfers damned near unlistenable, has actually been used, very judiciously, to great effect. I would venture to say that the </span></font>Abbey Road team has finally harnessed this demon and made it serve rather than harm the music making. </p>
<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">On Lennon’s “Rain” (from <i><span style="FONT-STYLE: italic">Past Masters</span></i>) one of the band’s most elaborate sonic creations, one that used a series of overdubs at different tape speeds to achieve an odd tonal effect and near the song’s end, backward vocals, the new remaster when compared to the original CD transfer, focuses and revitalizes the panache of this underrated curiosity. The guitars have more bite, Ringo’s snare pops with new vigor and the background vocals are separated more than ever before. </span></font></p>
<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">Finally, after listening to the <i><span style="FONT-STYLE: italic">The Beatles</span></i> (aka <i><span style="FONT-STYLE: italic">The White Album</span></i>), which despite much love for <i><span style="FONT-STYLE: italic">Abbey Road</span></i> has always been my favorite Beatles album, the proof as they say, is in the air. The sound is appreciatively better, richer, more intense. The overdubs on this record have always sounded clumsy to me but on the new remaster, that problem has been minimized. A–B’ing “While My Guitar Gently Weeps,” is yet another example of how clarity has been strengthened while the music that was always there, the Harrison/McCartney harmonies float above the mix with a new urgency and Clapton’s guitar has a thrilling new sting. Anyone who cannot hear he differences here needs to upgrade their gear or perhaps retune their ears. It’s easy to fall back upon metaphors when describing the exciting new sound that rises from these remasters but I’ll use only one. In listening to these new reissues, it makes me think that the music was like a half-opened flower that has now been brought into full and beautiful bloom. </span></font></p>
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<p style="MARGIN-LEFT: 0.5in"><font size="3" face="Times New Roman"><span style="FONT-SIZE: 12pt">Vision2020 Post: Ted Moffett</span></font></p></div></div></div></div></div></blockquote></div>