- Thread Author
- #1
I´m glad that I became an audiophile. Or I ran the risk of having crystallized my musical taste (*) around the same styles, that is to say, between pop and rock and roll, with the inevitable portuguese “Fado”, mixed with some classic/erudite, easy to consume. 
In the time before the “audiophile experience”, jazz was boring to me, with long ramblings around the ubiquitous saxophone and the musicians playing each their own way, when in their free style. At least that's how I saw it. But thanks to the madness for a good sound, it was precisely in jazz that I have come to find some of the best recordings and, truth be told, at some point in the “path”, the only ones that the system seemed to support. :happy: What allowed me to go “assimilating” the style and start to appreciate it. From there, until I started to like more experimental tones around a single instrument, it was a step. Discovering Renaud Garcia-Fons, for example, was an absolutely remarkable moment of renewal and refinement of the taste and pleasure of listening to music. I would even say that Renaud Garcia-Fons caused a real disruption in my musical preferences, and created a new thirsty for new sounds, and leaving almost “no stone unturned”.:audiophile: Many were the albums that I have not reviewed in the same way since then. From then on, much of what was part of my musical foundation began to sound banal and tiring. And, of course, there was always the search for a good recording. These were/are indispensable to the enjoyment of the listen experience. Only these recordings allow me to go farther than the melody and ear and understand the technique of the musician and the limits of the instruments. Just the sound could be pure joy and delight!
That said, exploring other sounds that fuel the desire for novelty, along with excellent recordings, allow me to extract the best from a sound system, and this is something I pursue till today as an audiophile/music lover.
So, recently I met Bassroom from Nenad Vasilic (**)
About this album, what I am offered to say in first place, is that is a finished example of intelligence at the service of art, in this case of music, of course.
But isn't all art a form of expression of intelligence? :scholar: Of course, although language is often simplified by equating art with emotion, removing from that the rationality part. What I want to say is that, in addition to the intelligence placed in the creation by the artist and musician, this album denotes, more than a care, I would say, a sophistication in production, revealing a conscience and an intention to satisfy us with the magic of the sound(s), providing us with a complete palette of tones and colors, the result of a perfect proximity capture, added with phase changes, sound intensity and stereo effects, generating the hyper realism that (only) home audio can provide us.
:heart:
Thanks for that to the producer and the sound technician who did the recording, mixing and, above all, the mastering of this album. His name deserves to be mentioned. And his name is… Nenad Vasilic! :hey: In other words, this record is what all records should be, that is, it expresses in an (almost) unique and complete way the intention of the artist.
Therefore, this is an absolutely hypnotic album that we put on repeat over and over again, for the pleasure of feeling the sound in a way that until now, maybe only the musician himself could feel and ear (all the timbre and harmonic richness of the instrument).
Would anyone disdain the possibility of having a musician strumming a cello or a double bass in front of them, in continuous improvisation, almost exclusively for the pleasure of listening to the instrument? I do not. And so I listen to this record, and listen to it again. For pure listening pleasure. :baby:
(*) And so, limited in horizons, I could today swell the ranks of audio negativists who, when confronted with this passion, and the pleasure of sound for sound, immediately use the “music” as a weapon against us, the hyperborean explorers.
(**) Bass Drops - YouTube
In the time before the “audiophile experience”, jazz was boring to me, with long ramblings around the ubiquitous saxophone and the musicians playing each their own way, when in their free style. At least that's how I saw it. But thanks to the madness for a good sound, it was precisely in jazz that I have come to find some of the best recordings and, truth be told, at some point in the “path”, the only ones that the system seemed to support. :happy: What allowed me to go “assimilating” the style and start to appreciate it. From there, until I started to like more experimental tones around a single instrument, it was a step. Discovering Renaud Garcia-Fons, for example, was an absolutely remarkable moment of renewal and refinement of the taste and pleasure of listening to music. I would even say that Renaud Garcia-Fons caused a real disruption in my musical preferences, and created a new thirsty for new sounds, and leaving almost “no stone unturned”.:audiophile: Many were the albums that I have not reviewed in the same way since then. From then on, much of what was part of my musical foundation began to sound banal and tiring. And, of course, there was always the search for a good recording. These were/are indispensable to the enjoyment of the listen experience. Only these recordings allow me to go farther than the melody and ear and understand the technique of the musician and the limits of the instruments. Just the sound could be pure joy and delight!
That said, exploring other sounds that fuel the desire for novelty, along with excellent recordings, allow me to extract the best from a sound system, and this is something I pursue till today as an audiophile/music lover.
So, recently I met Bassroom from Nenad Vasilic (**)
About this album, what I am offered to say in first place, is that is a finished example of intelligence at the service of art, in this case of music, of course.
But isn't all art a form of expression of intelligence? :scholar: Of course, although language is often simplified by equating art with emotion, removing from that the rationality part. What I want to say is that, in addition to the intelligence placed in the creation by the artist and musician, this album denotes, more than a care, I would say, a sophistication in production, revealing a conscience and an intention to satisfy us with the magic of the sound(s), providing us with a complete palette of tones and colors, the result of a perfect proximity capture, added with phase changes, sound intensity and stereo effects, generating the hyper realism that (only) home audio can provide us.
:heart:Thanks for that to the producer and the sound technician who did the recording, mixing and, above all, the mastering of this album. His name deserves to be mentioned. And his name is… Nenad Vasilic! :hey: In other words, this record is what all records should be, that is, it expresses in an (almost) unique and complete way the intention of the artist.
Therefore, this is an absolutely hypnotic album that we put on repeat over and over again, for the pleasure of feeling the sound in a way that until now, maybe only the musician himself could feel and ear (all the timbre and harmonic richness of the instrument).
Would anyone disdain the possibility of having a musician strumming a cello or a double bass in front of them, in continuous improvisation, almost exclusively for the pleasure of listening to the instrument? I do not. And so I listen to this record, and listen to it again. For pure listening pleasure. :baby:
(*) And so, limited in horizons, I could today swell the ranks of audio negativists who, when confronted with this passion, and the pleasure of sound for sound, immediately use the “music” as a weapon against us, the hyperborean explorers.
(**) Bass Drops - YouTube
