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More and more music lovers are discovering the unique sound of a vinyl record. Stockfisch thought about whether it is possible just to make the sound creation factors of a vinyl record audible. A pressed record however, has many artifacts arising from the vinyl pressing i.e. distortion, rumble, groove noise, vertical and lateral aberrations, clicks, etc. and other artifacts that are detrimental to a good sound. Stockfisch calls their new production method 'DMM-CD'. With this solution, they can eradicate the aforementioned disadvantages of the pressed record - and yet still maintain the typical vinyl sound.
Installée au Japon depuis près de trente ans, l'auteure est imprégnée par le mode de vie de son pays d'adoption. Un mode de vie qui repose sur le principe du " moins pour plus ", appliqué à tous les domaines, du " matériel " au " spirituel " – en l'occurrence, ici, à l'alimentation. Partant du constat que nous sommes devenus, en à peine un demi-siècle, des machines à consommer, Dominique Loreau exhorte à réfléchir sur cette nouvelle donne, source de problèmes entremêlés (santé, environnement, mal-être…), …
Pilar Lorengar never achieved the fame and recognition of some of her Spanish peers, such as Victoria de los Angeles and Teresa Berganza; because of this, her singing is relatively unknown to contemporary listeners. Fortunately, anyone with interest can get to know this terrific soprano through The Art of Pilar Lorengar, Decca's two-disc retrospective featuring operatic excerpts and songs of Spanish composers. It is well worth the time; Lorengar had a gorgeous voice, and at its best her singing competes with anything on record. This is especially true of the purely lyrical excerpts on the album, such as "Je dis que rien ne m'épouvante" from Carmen and "Glück, das mir verbleib" from Korngold's Die tode Stadt, both of which would be tough to beat for sheer beauty of singing.