UWAGA ! OFERTA SPECJALNA !
WYSYŁKA GRATIS !!!
CAŁKOWICIE DARMOWY KOSZT WYSYŁKI !
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KANON FIDELITY
to właściwe miejsce dla każdego Audiofila !
Recorded at Sunset Sound Recorders, Hollywood, California. 1967.
Płyta kompaktowa SACD wydana przez ANALOGUE PRODUCTIONS (Warner Bros.). Przygotowana z oryginalnego analogowego źródła. Dźwięk absolutnie doskonały, także edytorsko mistrzostwo świata.
Strange Days – drugi album studyjny amerykańskiego zespołu rockowego The Doors, wydany 16 października 1967 roku. Album zawiera utwory, które zostały w większości napisane w latach 1[zasłonięte]965-19 przed wydaniem debiutanckiej płyty. Demo piosenki "Moonlight Drive" powstało w 1965 roku, jednak nie została ona umieszczona na pierwszej płycie. Projektem okładki płyty zajmował się William S. Harvey, autorem zdjęć jest Joel Brodsky.
W 2003 album został sklasyfikowany na 407. miejscu listy 500 albumów wszech czasów magazynu Rolling Stone.
High Resolution DSD
Multi-Channel SACD
Płyta kompaktowa-orginalna.
Stan płyty: NOWA i FABRYCZNIE ZAFOLIOWANA .
widoczna na zdjęciu nr1 skaza, to NIE jest pęknięte pudełko, to tylko zagięcie na folii. Pudełko jest całe i nienaruszone !
Hybrid Multichannel SACD
Part of The Doors reissue series proudly presented by Analogue Productions!
The surround sound program on the Doors SACDs comes from the original 96K, 24-bit files mixed and mastered by Bruce Botnick for the DVD Audio Doors/Perception release. Those mixes were made from the original one-inch, eight track, 15 i.p.s. analog master tapes. For the SACDs, the mixes were then up-sampled without filters to DSD using the Weiss Saracon format converter and authored by Gus Skinas at the Super Audio Center.
Sinister, beguiling ... these were words reviewers used to describe The Door’s melodic psychedelic-era genre-blending sound. A mix of blues, Eastern music, classical and pop fueled hits such as the bluesy “Love Me Two Times” and “People Are Strange” from The Door’s debut follow-up, Strange Days.
Strange Days featured a smattering of edgy recitations (“Horse Latitudes”) and smoky rockers (“My Eyes Have Seen You”). Morrison’s rallying cry “We want the world, and we want it now!” from the ambitious extended track, “When the Music’s Over,” marked a touchstone for that era’s counterculture movement. Rolling Stone described Strange Days as having “all the power and energy of the first LP, but (it’s) more subtle, more intricate and much more effective.”
Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy. A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby! This is no time to wallow in the mire. The Doors are on Analogue Productions! Originally released in 1967 Ray Manzarek, keyboards Jim Morrison, vocals John Densmore, drums Robby Krieger, guitar
Analogue Productions and Quality Record Pressings are proud to announce that these six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best analog tape copy.
A truly authentic reissue project, the masters were recorded on tube equipment, and the tape machine used for the transfer of these releases is a tube machine, as is the cutting system. Tubes baby!
This is no time to wallow in the mire. The Doors are on Analogue Productions!
Originally released in 1967
Ray Manzarek, keyboards
Jim Morrison, vocals
John Densmore, drums
Robby Krieger, guitar
Technical notes about the recording process by Doors producer/engineer Bruce Botnick:"Throughout the record history of the Doors, the goal between Paul Rothchild and myself was to be invisible, as the Doors were the songwriters and performers. Our duty was to capture them in the recorded medium without bringing attention to ourselves. Of course, the Doors were very successful, and Paul and I did receive some acclaim, which we did appreciate.
"If you listen to all the Doors albums, no attempt was made to create sounds that weren't generated by the Doors, except for the Moog Synthesizer on Strange Days, although that was played live in the mix by Jim, but that's another story. The equipment used was very basic, mostly tube consoles and microphones. Telefunken U47, Sony C37A, Shure 56. The echo used was from real acoustic echo chambers and EMT plate reverb units. In those days, we didn't have plug-ins or anything beyond an analogue 8-track machine. All the studios that we used, except for Elektra West, had three Altec Lansing 604E loudspeakers, as that was the standard in the industry, 3-track. On EKS-74007, The Doors, we used 4-track Ampex recorders and on the subsequent albums, 3M 56 eight-tracks. Dolby noise reduction units were used on two albums, Waiting For The Sun and The Soft Parade. Everything was analogue, digital was just a word. We didn't use fuzz tone or other units like that but created the sounds organically, i.e. the massive dual guitar solo on "When The Music's Over," which was created by feeding the output of one microphone preamp into another and adjusting the level to create the distortion. The tubes were glowing and lit up the control room.
"When mastering for the 45-RPM vinyl release, we were successfully able to bake the original master tapes and play them to cut the lacquer masters."
- Bruce Botnick, July 2012
