Miles Davis’ “Kind of Blue”, released in 1959, is often cited as one of the most influential jazz albums of all time. However, an interesting technical detail about this album is the speed problem that affected some of its tracks. Initially, the album’s master tapes were recorded at a slightly lower speed, resulting in faster playback and a higher pitch when the discs were pressed.
This problem particularly affected the first side of the album, where the tracks were played half a tone above their original pitch. It wasn’t until 1997 that reissues of the album began to correct this problem, by adjusting the speed to reflect the musicians’ original intention. Debates and discussions about these speed problems abound, particularly on music forums where audiophiles and jazz fans exchange information about different editions of the album.
As for the various vinyl or digital editions, with or without the correct speed, notably the post-1997 reissues which have corrected these problems. Despite these technical complications, the album remains a jazz mainstay, famous for its modal improvisations and its influence on generations of musicians. The timeless quality of “Kind of Blue” transcends technical imperfections, and continues to inspire and fascinate music lovers the world over.
It is not possible to test the hundreds of versions of this album available, but this review contains over 30 versions, from 1960 to the present day, on all media (vinyl records, CDs, DVDs, SACDs, streaming), from mono to Dolby Atmos, with prestigious editions such as MOFI, Analog Production…
For this review, listening was done with Jean Razzaroli of Vinyl&Audio magazine, in which you can also find a review of this Miles Davis album in the September/October 2024 issue.
Today, we present the update with the full review, included 36 editions.
- Vinyl MFSL ref 2-45011 – 2015
- Vinyl ref : CS 8163 – NA-13-2011 – 2010
- Vinyl Clear ref : 19439802191 – 2021
- Vinyl Japan ref : SIJP 1020- 2020
- Vinyl Japan MONO ref : SIJP 1019- 2020
- SACD MFSL ref : UDSACD 2085 – 2015
- SACD Columbia stereo ref : CS64935 remastered 1997
- SACD Columbia multichannel ref : CS64935 remastered 1997
- BNF stereo Fontana ref 885113 TY – 1960
- BNF Mono Fontana ref 682 059TL – 1960
- CD Columbia-Legacy ref : CK 64935 – 1997
- CD Not Now Music ref : NOT2CD335 – 2010
- CD Box mono ref 88883756642 – 2013
- Amazon Music Ultra HD
- Vinyl Analog Production UHQR 33.33 rpm – 2021
- Vinyl Analog Production UHQR 45 rpm – 2022
- Japanese Vinyl ref : SONP 50027 – 1968
- CD Layer from SACD MFSL ref : UDSACD 2085 – 2015
- HDTT DXD – with speed correction – 2022
- HDTT DSD256 – 2023
- SACD Japan Stereo ref: SICP 10083 – 2007
- SACD Japan 5.1 ref: SICP 10083 – 2007
- CD from DVD Combo ref: CN 90887 – 2004
- DVD stereo ref: CN 90887 – 2004
- DVD 5.1 ref: CN 90887 – 2004
- Streaming Qobuz Stereo 24/192
- Streaming Qobuz Mono 24/96
- Apple Dolby Atmos
- Amazon Sony 360RA
- Vinyl mono ref: WaxTime 772359 – 2024
- Vinyl stereo ref: WaxTime 772359 – 2024
- Blue Vinyl ref : 350202 – 2020
- Music On Vinyl Vinyl ref : MOVLP019 – 2010
- Vinyl Analog Production (corrected speed) – 2025
- Blue Vinyl Analog Production (corrected speed) – 2025
- CD Audionautes – 2022
To begin with, I’d like to take a look at the difference in tape recorder speed for the first three tracks is present on pre-1997 recordings. This difference is visible on the waveform, where we can see that the music on the 1968 vinyl plays faster than the music on the 2022 UQR vinyl.
This difference in speed is also visible on the spectrum, making it easier to measure the speed difference. Indeed, a greater or lesser speed will shift the frequency response. Zooming in on the graph shows that the frequency of 1408 Hz on the 2022 vinyl record is due to a speed-corrected master, while its equivalent on the uncorrected 1968 record is 1442 Hz.
This gives a speed error of 2.4%. This means that when the magnetic tape was recorded, instead of running at 38 cm/s, it was running at 37.1 cm/s!
Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.
The album is composed of 6 tracks:
- So What
- Freddie Freeloader
- Blue In Green
- All Blues
- Flamenco Sketches
- Alternate Take of Flamenco Sketches*
* Bonus Track available on some editions.
Summary, scoring and Samples
Ed 1: Vinyl MFSL ref 2-45011 – 2015
Presentation
This is the MOFI double vinyl 45 RPM edition box set released in 2015.
| Label | Mobile Fidelity Sound Lab |
| Reference | MFSL 2-45011 |
| Format (speed) | 2 Vinyl, 45 RPM 180g |
| Type | Original Master Recording, Gain 2 Ultra Analog, special limited edition |
| Master | 1/4″ / 15 IPS / Dolby SR analog remix master to DSD 64 to analog console to lathe |
| Mastering/Pressing | Mastered at Mobile Fidelity Sound Lab |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2015 |
Waveform and Spectrum: DR14
The vinyl MFSL waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
Presented in its own box, this MOFI edition contains two vinyl LPs in 45 rpm. This is a version based on an intermediate DSD64 master, and therefore not produced with a pure analog chain. But that doesn’t stop it from delivering a very fine sound, with a good tonal balance, great precission and quality engraving with very little noise. This is one of the finest editions of this album.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 2: Vinyl ref : CS 8163 – NA-13-2011 – 2010
Presentation
180g vinyl edition released in 2010 as part of the Collection “Vinyles de Jazz” launched in France Altaya.
| Label | Columbia |
| Reference | CS 8163 – NA-13-2011 |
| Format (speed) | Vinyl 33 rpm 180g |
| Type | Vinyl LP |
| Master | Digital |
| Mastering/Pressing | Europe |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2010 |
Waveform and Spectrum: DR15
The vinyl 2010 waveform shows a high dynamic range confirmed with DR15.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
The vinyl record is well pressed, with very little background noise. It is made from a master that is clearer than MFSL vinyl, with an attenuated bass level that gives it a less natural sound balance. This difference in sound balance is visible on the spectrum analysis, with up to 5 dB less below 500 Hz for this vinyl record.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (5)
- Restitution: ●●●oo (3.5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 3: Vinyl Clear ref : 19439802191 – 2021
Presentation
This is the reissue with Limited edition pressed on Ultra-clear transparent 180g vinyl.
| Label | Columbia |
| Reference | 19439802191 |
| Format (speed) | Vinyl 33 rpm, 180g |
| Type | Vinyl LP Ultra-clear transparent |
| Master | Digital |
| Mastering/Pressing | Europe |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2021 |
Waveform and Spectrum: DR14
The clear vinyl waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle. A small noise peak is present above 25 kHz (black arrow), but this has no effect on the listening experience.
Synthesis and listening
The transparent vinyl record is well pressed, with reduced background noise. It is made from a master closer to MFSL vinyl, with a closer sound balance, but with less finesse in sound rendering.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 4: Vinyl Japan ref : SIJP 1020- 2020
Presentation
This is Japanese vinyl reissue in the Jazz Analog Legendary Collection by Sony in 2020.
| Label | Sony Records Int’l |
| Reference | SIJP 1020 |
| Format (speed) | Vinyl, 33 rpm, 180 |
| Type | Vinyl LP, Jazz Analog Legendary Collection |
| Master | Digital 24 bits 192 kHz |
| Mastering/Pressing | Pressed in Japan |
| Original recording | Analog |
| State | Japan |
| Year original | 1959 |
| Year production | 2020 |
Waveform and Spectrum: DR14
The Japanesed stereo vinyl waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle. A small noise peak is present above 25 kHz (black arrow), but this has no effect on the listening experience.
Synthesis and listening
Japanese vinyl is well pressed, with very little background noise. It’s made from a master closer to MFSL vinyl, with a similar sound balance, but with a little less finesse in the sonic rendering.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4.5)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 5: Vinyl Japan MONO ref : SIJP 1019- 2020
Presentation
This is Japanese mono vinyl reissue in the Jazz Analog Legendary Collection by Sony in 2020.
| Label | Sony Records Int’l |
| Reference | 9362-45024-4 |
| Format (speed) | Vinyl MONO , 33 rpm, 180 |
| Type | Vinyl LP mono, Jazz Analog Legendary Collection |
| Master | Digital 24 bits 192 kHz |
| Mastering/Pressing | Japan |
| Original recording | Analog |
| State | Japan |
| Year original | 1959 |
| Year production | 2020 |
Waveform and Spectrum: DR14
The Japanesed mono vinyl waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle. A small noise peak is present above 25 kHz (black arrow), but this has no effect on the listening experience.
Synthesis and listening
This Japanese mono vinyl has the same tonal balance as the Japanese stereo vinyl. The mono rendering is very homogeneous with all instruments, which explains why some prefer the mono version. Compared with the BNF mono version, there’s a lot of detail and precision in this 2020 vinyl reissue.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4.5)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 6: SACD MFSL ref : UDSACD 2085 – 2015
Presentation
This is the Mobile Fidelity Sound Lab SACD release.
| Label | Mobile Fidelity Sound Lab |
| Reference | UDSACD 2085 |
| Format (speed) | SACD DSD64 |
| Type | SACD |
| Master | Digital |
| Mastering/Pressing | Mobile Fidelity Sound Lab |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2015 |
Waveform and Spectrum: DR14
The SACD MFSL waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and a rise in noise (white arrow) due to the DSD64 operating principle used on the SACD.
Synthesis and listening
From the same source as the MOFI vinyl disc, the SACD version of MOFI is very close in rendering to the MOFI vinyl, with a similar sound balance and all the qualities of the SACD digital support that make this version one of the best digital versions of the album.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 7: SACD Columbia stereo ref : CS64935 remastered 1997
Presentation
This is the stereo tracks of SACD version remastered by Columbia in 1997. This SACD includes a bonus track : a Alternate Take of Flamenco Sketches.
| Label | Columbia |
| Reference | CS64935 |
| Format (speed) | SACD DSD64 stereo and multichanel |
| Type | SACD |
| Master | Digital DSD |
| Mastering/Pressing | US |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 1997 |
Waveform and Spectrum: DR14
The SACD Columbia stereo waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and a rise in noise (white arrow) due to the DSD64 operating principle used on the SACD.
Synthesis and listening
This SACD record is made from a clearer master than the SACD MFSL, with an attenuated bass level that gives it a less natural sound balance. This difference in spectrum balance is visible on the spectrum analysis, with up to 5 dB less below 500 Hz for this SACD.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●oo (3.5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 8: SACD Columbia multichannel ref : CS64935 remastered 1997
Presentation
This is the multichannel tracks of SACD version remastered by Columbia in 1997. This SACD includes a bonus track : a Alternate Take of Flamenco Sketches.
| Label | Columbia |
| Reference | CS64935 |
| Format (speed) | SACD DSD64 stereo and multichanel |
| Type | SACD |
| Master | Digital DSD |
| Mastering/Pressing | US |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 1997 |
Spatialization:
The spatialization of SACD Columbia multichannel ref : CS64935 remastered 1997 version varies from track to track, with values between 0.9 and 1.8.
Spatialization : ●oooo (1.3)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR15
The SACD Columbia 5.0 waveform shows a high dynamic range confirmed with DR15.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and a rise in noise (white arrow) due to the DSD64 operating principle used on the SACD.
Synthesis and listening
The multichannel version has the same sound balance as the stereo version of the SACD, but with a spatialization that remains consistent with the music, favoring the front stage with the use of the 3 front speakers, bringing a naturalness to the reproduction.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Spatialization: ●oooo (1.3)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 5.0 24 bits 88.2 kHz:
The sample is in 5.0 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Ed 9: BNF stereo Fontana ref 885113 TY – 1960
Presentation
This is the BNF edition made from the digitization of the 1960 stereo vinyl.
| Label | BNF Collection |
| Reference | BNF Collection 1960 (vinyl : Fontana 885113TY) |
| Format (speed) | 24/96 from Vinyl |
| Type | Album |
| Master | Digital, record of the vinyl |
| Mastering/Pressing | Digital |
| Original recording | Analog vinyl |
| State | HOLLAND |
| Year original | 1960 |
| Year production | 2014 |
Waveform and Spectrum: DR13
The BNF stereo Fontana waveform shows a good dynamic range confirmed with DR13.
The spectrogram shows that the signal attenuates from 18 kHz (yellow arrow) with the signal above this frequency (white arrow) containing musical information and distortion due to the operating principle of the vinyl record.
Synthesis and listening
This vinyl edition, restored by the BNF, corresponds to the original version with uncorrected speed. There is a slight decay on the A side. This version is also clearer than the MOFI version, with an attenuated bass level. Compared with the other versions, this one is certainly closer to the original, but with a lack of finesse and precision in the reproduction.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : “Freddie Freeloader” 24 bits 96 kHz:
Ed 10: BNF Mono Fontana ref 682 059TL – 1960
Presentation
This is the BNF edition made from the digitization of the 1960 monovinyl.
| Label | BNF Collection |
| Reference | BNF Collection 1960 (vinyl : Fontana 682059TY) |
| Format (speed) | 24/96 from Mono Vinyl |
| Type | Album mono |
| Master | Digital, record of the vinyl |
| Mastering/Pressing | Digital |
| Original recording | Analog vinyl |
| State | HOLLAND |
| Year original | 1960 |
| Year production | 2014 |
Waveform and Spectrum: DR13
The BNF mono Fontana waveform shows a good dynamic range confirmed with DR13.
The spectrogram shows that the signal attenuates from 15 kHz (yellow arrow) with the signal above this frequency (white arrow) containing musical information and distortion due to the operating principle of the vinyl record.
Synthesis and listening
This 1960 mono vinyl edition, restored by BNF, corresponds to the original version with uncorrected speed. There is a slight decay on the A side. This version is less clear than the BNF stereo version, with bass levels reduced below 300 Hz, and treble attenuation above 15 kHz. Compared with the other versions, this mono version is certainly closer to the original, but with a lack of finesse and precision in the reproduction.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●● (5)
- Restitution: ●●ooo (2.5)
Sample : “Freddie Freeloader” 24 bits 96 kHz:
Ed 11: CD Columbia-Legacy ref : CK 64935 – 1997
Presentation
This is the CD version remastered in Super Bit Mapping (SBM 20 bits) in 1997. This CD includes a bonus track : a Alternate Take of Flamenco Sketches.
| Label | Columbia |
| Reference | CK 64935 |
| Format (speed) | CD remastered in Super Bit Mapping (SBM 20 bits) |
| Type | CD 16 Bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Remix by Mark Wilder |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 1997 |
Waveform and Spectrum: DR13
The CD Columbia Legacy waveform shows a limited dynamic range confirmed with DR13. This is due to the higher average level of the album obtained by limiting peaks in terms of dynamics.
The CD spectrogram shows that the signal goes up to 22 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.
Synthesis and listening
Like columbia’s SACD disc, this CD is made from a clearer master than the MFSL SACD, with an attenuated bass level that gives it a less natural sound balance. This difference in spectrum balance is visible on the spectrum analysis, with up to 5 dB less below 500 Hz for this CD. This album also has a higher average sound level, limiting peaks and reducing the album’s dynamic range on certain tracks.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : “Freddie Freeloader” 16 bits 44.1 kHz:
Ed 12: CD Not Now Music ref : NOT2CD335 – 2010
Presentation
This is compilation of two CDs of Miles Davis included Kind of Blue and Ascenseur Pour L’ chafaud.
| Label | Not Now Music |
| Reference | NOT2CD335 |
| Format (speed) | CD Compilation |
| Type | CD 16 Bits 44.1 kHz |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | Europe |
| Year original | 1959 |
| Year production | 2010 |
Waveform and Spectrum: DR11
The CD (2010) waveform shows a limited dynamic range confirmed with DR11. This is due to the higher average level of the album obtained by limiting peaks in terms of dynamics.
The CD spectrogram shows that the signal goes up to 22 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.
Synthesis and listening
Compared with the columbia CD, this CD is made from a less clear master, with a higher bass level, as confirmed by the spectrum analysis, with up to 5 dB less below 500 Hz for this CD. Unfortunately, this CD is affected by the lousness war, with a higher average level, resulting in a limitation of peak, thus reducing the album’s dynamic range.
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : “Freddie Freeloader” 16 bits 44.1 kHz:
Ed 13: CD Box mono ref 88883756642 – 2013
Presentation
This is the mono version included in the boxset released in 2013 with 8 other CDs.
| Label | Columbia |
| Reference | 88883756642 |
| Format (speed) | CD Mono included in a box set |
| Type | CD 16 Bits 44.1 kHz mono |
| Master | Digital |
| Mastering/Pressing | Mastered by Mark Wilder |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2013 |
Waveform and Spectrum: DR14
The mono cd (fom BOX) waveform shows a good dynamic range confirmed with DR14.
The CD spectrogram shows that the signal goes up to 22 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.
Synthesis and listening
This mono CD version is very close to the Japanese vinyl in MONO ref: SIJP 1019-2020, but without the finesse of the latter.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 16 bits 44.1 kHz:
Ed 14: Amazon Music Ultra HD
Presentation
This is the lossless streaming version of Kind Of Blue offered in Ultra HD (24 bits 96 kHz) on Amazon Music HD.
| Label | Columbia |
| Reference | Amazon Music UltraHD Streaming |
| Format (speed) | Digital 24 bits 96 kHz |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2021 |
Waveform and Spectrum: DR15
The Amazon UltraHD waveform shows a high dynamic range confirmed with DR15.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and some noise (white arrow) due to tape playback.
Synthesis and listening
The Amazon Ultra HD version has the same tonal balance as the SACD MOFI version. But with a listening experience that offers less finesse and precision than the MOFI version.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●oo (3.5)
Sample : “Freddie Freeloader” 24 bits 96 kHz:
Ed 15: Vinyl Analog Production UHQR 33.33 rpm – 2021
Presentation
This is the Analog Production UHQR 33.33 rpm edition box set released in 2021. This vinyl record is released in pure analog (AAA)
| Label | Analogue Productions |
| Reference | AUHQR 0004 |
| Format (speed) | Clarity Vinyl, 33.33 RPM 200g |
| Type | Full analog production AAA |
| Master | Analog, mastered directly from the original 3-Track master tapes by Bernie Grundman. |
| Mastering/Pressing | Pressed at Quality Record Pressings using Clarity Vinyl on a manual Finebilt press |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2021 |
Waveform and Spectrum: DR14
The vinyl UHQR waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Spectrum
The graph below compares the spectrum of the Vinyl Analog Production UHQR 33.33 rpm – 2021 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).The two versions differ in their spectra. The zone shows a difference in the low end of the spectrum (1 to 2 dB). The purple zone shows a difference in the midrange, with a higher pls level for the UHQR vinyl (up to 4 dB). The green zone shows the accentuation (up to 5 dB) above 14 kHz of the MFSL vinyl. The yellow arrow indicates a rise in noise on UHQR vinyl. The difference in mastering visible on the spectra provides two different listening experiences.
Synthesis and listening
This Analog Production box set was eagerly awaited, and it doesn’t disappoint, with a dynamic, perfectly-balanced version that enhances the MOFI version. The naturalness and detail of each instrument are revealed. The mastering is different from the MOFI version, with less equalization, especially in the upper spectrum (see spectrum analysis), which explains the more natural rendering. The pressing is superb, with limited background noise.This UHQR edition is produced in pure AAA analog.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 16: Vinyl Analog Production UHQR 45 rpm – 2022
Presentation
This is the Analog Production UHQR double LP 45 rpm edition box set released in 2022. This vinyl record is released in pure analog (AAA)
| Label | Analogue Productions |
| Reference | UHQR 0004-45 |
| Format (speed) | 2 Clarity Vinyl, 45 RPM 200g |
| Type | Full analog production AAA |
| Master | Analog, mastered directly from the original 3-Track master tapes by Bernie Grundman. |
| Mastering/Pressing | Pressed at Quality Record Pressings using Clarity Vinyl on a manual Finebilt press |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2022 |
Waveform and Spectrum: DR14
The vinyl UHQR 45rpm waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
With this double-disc 45 rpm box set, Analogue Production offers us what is certainly the best modern edition in pure analog AAA, with a tonal balance reworked from the original stereo version. We find here a little more finesse than the 33.33 rpm version, with a natural, realistic rendering of all the instruments (listen carefully to the piano). An excellent engraving for this vinyl record, offering very little surface noise and plenty of dynamics to accompany the musicians on each track. It’s a pity that the price of this set is so high.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (5)
- Restitution: ●●●●● (5)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 17: Japanese Vinyl ref : SONP 50027 – 1968
Presentation
This is Japanese vinyl reissue by CBS/Sony in 1968.. This vinyl record is released in pure analog (AAA)
| Label | CBS/Sony |
| Reference | SONP 50027 |
| Format (speed) | Vinyl, 33.33 RPM 180g |
| Type | Full analog production AAA |
| Master | Analog |
| Mastering/Pressing | Analog |
| Original recording | Analog |
| State | Japan |
| Year original | 1959 |
| Year production | 1968 |
Waveform and Spectrum: DR14
The Japanesed stereo vinyl (1968) waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
In this 1968 reissue, we find the original sound of the recording, uncorrected for speed. It also has less depth than recent editions, which have a higher bass level. A version for those who want to hear the work as it was in its early days.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 24 bits 88.2 kHz:
Ed 18: CD Layer from SACD MFSL ref : UDSACD 2085 – 2015
Presentation
This is the Mobile Fidelity Sound Lab SACD release tested with the CD layer.
| Label | Mobile Fidelity Sound Lab |
| Reference | UDSACD 2085 |
| Format (speed) | SACD DSD64 with CD Layer PCM 16 bits 44.1 kHz |
| Type | SACD |
| Master | Digital |
| Mastering/Pressing | Mobile Fidelity Sound Lab |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2015 |
Waveform and Spectrum: DR14
The CD layer from SACD MFSL waveform shows a high dynamic range confirmed with DR14, like the SACD layer.
The CD spectrogram shows that the signal goes up to 22 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.
Synthesis and listening
Very close to the SACD track, the SACD CD layer is slightly inferior in terms of finesse, naturalness and sound space. But beware: the sound rendering depends very much on the DAC processing between 16-bit PCM 44.1 kHz and DSD64, so it may be different on your equipment.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4.5)
Sample : Freddie Freeloader” 16 bits 44.1 kHz:
Ed 19: HDTT DXD – with speed correction – 2022
Presentation
This is the High Definition Tape Transfert (HDTT) release tested with the speed correction of the three first tracks in DXD formats.
| Label | High Definition Tape Transfert (HDTT) |
| Reference | HDTT13879 |
| Format (speed) | DXD 24 bits 352.8 kHz |
| Type | Digital |
| Master | Sourced from a 15ips 2-track tape |
| Mastering/Pressing | Transferred using a modified Studer 810 tape deck feeding a Merrill Tape Preamp. Merging Hapi Analog to Digital Converter clocked by a Antelope Audio 10MX Atomic Clock. This product also includes the pitch-corrected first three tracks They have been post-processed using DXD 24/352.8 PCM |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2022 |
Waveform and Spectrum: DR14
The HDTT DXD waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and some noise (white arrow) due to tape playback.
Synthesis and listening
HDTT offers us a version that comes directly from a high-resolution digitization of the magnetic tape, without any remastering (apart from the speed correction in this version). It’s a very interesting approach that allows us to get as close as possible to the sound of the tape, but we don’t know what type of tape was used: a copy of a Master, or a copy of a copy… This version offers a sound balance between the original and remastered versions. High-frequency detail is less present, as is extreme bass (there is no correction due to the direct copy). But, this version lacks the finesse of the UHQR vinyl versions.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4.5)
- Restitution: ●●●oo (3.5)
Sample : Freddie Freeloader” 24 bits 88.2 kHz:
Ed 20: HDTT DSD256 – 2022
Presentation
This is the High Definition Tape Transfert (HDTT) release tested without the speed correction in DSD256 formats.
| Label | High Definition Tape Transfert (HDTT) |
| Reference | HDTT13879 |
| Format (speed) | DSD256 |
| Type | Digital |
| Master | Sourced from a 15ips 2-track tape |
| Mastering/Pressing | Transferred using a modified Studer 810 tape deck feeding a Merrill Tape Preamp. Merging Hapi Analog to Digital Converter clocked by a Antelope Audio 10MX Atomic Clock. |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2022 |
Waveform and Spectrum: DR14
The HDTT DSD256 waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and some noise (white arrow) due to tape playback.
Synthesis and listening
This version is presented for comparison purposes, in order to compare the impact of the difference in speed on the same strip between a corrected version (ED19) and the version without speed correction.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : Freddie Freeloader” 24 bits 88.2 kHz:
Ed 21: SACD Japan Stereo ref: SICP 10083 – 2007
Presentation
This is the stereo tracks of SACD version remastered in 2007.
| Label | Sony Records |
| Reference | SICP 10083 |
| State | SACD DSD64 stereo and multichanel |
| Type | SACD |
| Master | Digital DSD |
| Mastering/Pressing | Japan |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2007 |
Waveform and Spectrum: DR15
The SACD stereo waveform shows a high dynamic range confirmed with DR15.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and a rise in noise (white arrow) due to the DSD64 operating principle used on the SACD.
Synthesis and listening
This Japanese SACD edition is closer to the MOFI SACD in terms of sound balance, offering a more natural rendering than the SACD (Ed 7 from 1997). There’s a little more bass, and a more balanced tonal balance. It’s one of the best digial version of this album.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4.5)
Sample : ” Freddie Freeloader” 25 bits 88.3 kHz:
Ed 22: SACD Japan 5.1 ref: SICP 10083 – 2007
Presentation
This is the 5.1 tracks of SACD version remastered in 2007.
| Label | Sony Records |
| Reference | SICP 10083 |
| State | SACD DSD64 stereo and multichanel |
| Type | SACD |
| Master | Digital DSD |
| Mastering/Pressing | Ujapan |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2007 |
Spatialization:
The spatialization of SACD Japan 5.1 ref: SICP 10083 – 2007 version varies from track to track, with values between 1 and 1.4.
Spatialization : ●oooo (1.1)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR15
The SACD 5.1 waveform shows a high dynamic range confirmed with DR15.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and a rise in noise (white arrow) due to the 5.1 DSD64 operating principle used on the SACD.
Synthesis and listening
The multichannel version has the same sound balance as the stereo version of the SACD, offering the best multichannel version, with a natural, balanced and precise rendering.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●● (5)
- Spatialization: ●oooo (1.1)
- Restitution: ●●●●o (4.5)
Sample : ” Freddie Freeloader” 5.1 16 bits 88.2 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Ed 23: CD from DVD Combo ref: CN 90887 – 2004
Presentation
This is the CD side of the DualDisc released in 2004. This CD includes a bonus track : a Alternate Take of Flamenco Sketches, and videos.
| Label | Columbia |
| Reference | CN 90887 |
| State | Dual Disk CD and DVD |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | US |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2004 |
Waveform and Spectrum: DR13
The CD (from combo) waveform shows a limited dynamic range confirmed with DR13. This is due to the higher average level of the album obtained by limiting peaks in terms of dynamics.
The CD (from combo)spectrogram shows that the signal goes up to 22 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 44.1 kHz sampling frequency used.
Synthesis and listening
The sound of this CD is similar to that of the Columbia-Legacy CD edition ref: CK 64935 – 1997, with a clearer sound than the MOFI SACD.
Rating:
- Dynamic: ●●●●o (4)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●oo (3)
Sample : ” Freddie Freeloader” 16 bits 44.1 kHz:
Ed 24: DVD stereo ref: CN 90887 – 2004
Presentation
This is the DVD side of the DualDisc released in 2004 presented in PCM stereo. This DVD includes a bonus track : a Alternate Take of Flamenco Sketches, and videos.
| Label | Columbia |
| Reference | CN 90887 |
| State | Dual Disk CD and DVD |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | US |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2004 |
Waveform and Spectrum: DR14
The DVD stereo PCM waveform shows a high dynamic range confirmed with DR14.
The DVD PCM track (from combo)spectrogram shows that the signal goes up to 24 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the 48 kHz sampling frequency used.
Synthesis and listening
The DVD version offers the same sound balance as the CD version, but without dynamic range restrictions. However, the clearer sound is less natural than that of the Japanese SACD and Mofi. DVD is clearly under-exploited in terms of audio format, as DVD-A can support a stereo track up to 192 kHz, and a multichannel track in DTS 24 bit/96 kHz.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : ” Freddie Freeloader” 24 bits 48 kHz:
Ed 25: DVD 5.1 ref: CN 90887 – 2004
Presentation
This is the DVD side of the DualDisc released in 2004 presented in Dolby Digital 5.1. This DVD includes a bonus track : a Alternate Take of Flamenco Sketches, and videos..
| Label | Columbia |
| Reference | CN 90887 |
| State | Dual Disk CD and DVD |
| Type | Dolby Digital 5.1 at 448 kbits/s |
| Master | Digital |
| Mastering/Pressing | US |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2004 |
Spatialization:
The spatialization of DVD 5.1 ref: CN 90887 – 2004 version varies from track to track, with values between 1.4 and 1.8.
Spatialization : ●●ooo (1.6)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR15
The DVD Dolby Digital 5.1 waveform shows a high dynamic range confirmed with DR14.
The DVD Dolby Digital 5.1 (from combo)spectrogram shows that the signal goes up to 20 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the encoding in Dolby Digital 448 kbits/s used.
Synthesis and listening
The 5.1 version available on the DVD, despite the slightly more present rear channels, is far inferior to the SACD versions, with its Dolby Digital encoding at 448 kbps. It therefore remains anecdotal. Only the stereo PCM version of the DVD is interesting for this medium.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●ooo (1.6)
- Restitution: ●●●oo (3)
Sample : ” Freddie Freeloader” 5.1 16 bits 48 kHz:
The sample is in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Ed 26: Streaming Qobuz Stereo 24/192
Presentation
This is the lossless streaming version of Kind Of Blue offered in High-Rez (24 bits 192 kHz) on Qobuz.
| Label | Columbia |
| Reference | Qobuz Streaming |
| State | Digital stereo 24 bits 192 kHz |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | – |
Waveform and Spectrum: DR14
The Qobuz stereo waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) without some signal above 50 kHz (white arrow) .
Synthesis and listening
The rendering of the Qobuz version is similar to that of the Amazon Music version. The soundstage rendering is a little different from that of the SACD versions. This is a version to consider for streaming.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : ” Freddie Freeloader” 24 bits 192 kHz:
Ed 27: Streaming Qobuz Mono 24/96
Presentation
This is the mono lossless streaming version of Kind Of Blue offered in High-Rez (24 bits 96 kHz) on Qobuz.
| Label | Columbia |
| Reference | Qobuz Streaming |
| State | Digital mono 24 bits 96 kHz |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | – |
Waveform and Spectrum: DR14
The Qobuz mono waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with some signal above this frequency and some noise (white arrow) due to tape playback.
Synthesis and listening
This high-resolution mono Qobuz version is close to the Japanese vinyl in MONO ref: SIJP 1019-2020, while offering greater finesse than the mono CD version (Ed 13).
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Restitution: ●●●●o (4)
Sample : ” Freddie Freeloader” 24 bits 96 kHz:
Ed 28: Apple Dolby Atmos
Presentation
This is the Dolby Atmos streaming of Kind Of Blue, presented in Dolby Digital Plus by Apple Music.
| Label | Columbia |
| Reference | Apple Music Streaming |
| State | Dolby Atmos pr sneted in Dolby Digital Plus |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2022 |
Spatialization:
The spatialization of Apple Dolby Atmos version varies from track to track, with values between 3.3 and 4.1.
Spatialization : ●●●●oooooo (3.8)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR15
The Dolby Atmos (downmixed in 7.1) waveform shows a high dynamic range confirmed with DR15.
The Dolby Atmos spectrogram shows that the signal goes up to 20 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the encoding in Dolby Digital Plus 4 used.
Synthesis and listening
The Dolby Atmos version is mainly frontal, but with greater spatialization of ambience than the multichannel SACD and 360RA versions. The sound reproduction is more balanced than the 360RA version. However, despite interesting spatialization, the use of Dolby Digital Plus (lossy encoding) does not deliver the finesse of sound rendering provided by the SACD versions.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●●●oooooo (3.8)
- Restitution: ●●●oo (3)
Sample : ” Freddie Freeloader” 7.1 16 bits 48 kHz:
The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Ed 29: Amazon Sony 360RA
Presentation
This is the Sony 360 Reality Audio streaming of Kind Of Blue, presented by Amazon Music. It was also available on Tidal before the end of 360RA support, but to date not replaced in Dolby Atmos.
| Label | Columbia |
| Reference | Amazon Music Sony 360RA Reality Audio Streaming |
| State | Sony 360 RA Reaity Audio |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Digital |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2022 |
Spatialization:
The spatialization of Amazon Sony 360RA version varies from track to track, with values between 2.1 and 2.6.
Spatialization : ●●oooooooo (2.3)
Below the spatialization for all tracks. Click on the images to zoom in.
Waveform and Spectrum: DR15
The 360RA (downmixed in 7.1) waveform shows a high dynamic range confirmed with DR15.
The 360RA spectrogram shows that the signal goes up to 20 kHz (yellow arrow) with no signal above this frequency (white arrow), due to the encoding in 360RA (MPEG-H) used.
Synthesis and listening
The 360RA version is mainly front-firing, like the 5.0 or 5.1 versions found on SACDs. The reduced use of side speakers does very little to extend the ambience. Sound rendering is clearer than the Dolby Atmos version. But, overall, the use of lossy compression does not deliver the finesse of sound rendering provided by SACD versions.
Rating:
- Dynamic: ●●●●● (5)
- Bandwidth: ●●●●o (4)
- Spatialization: ●●oooooooo (2.3)
- Restitution: ●●●oo (3)
Sample : ” Freddie Freeloader” 7.1 16 bits 48 kHz:
The sample is in 7.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and Save Audio As and play it with an external player.
Ed 30: Vinyl mono ref: WaxTime 772359 – 2024
Presentation
This double-vinyl edition, released in 2024, features the album in both mono and stereo. However, WaxTime does not provide any information about the origin of the master and the quality of manufacture. This edition features the stereo vinyl record.
| Label | WaxTime |
| Reference | 772359 |
| State | Stereo and mono Vinyl record 180 gram |
| Type | Digital |
| Master | Direct Metal Mastering DMM |
| Mastering/Pressing | UK & Europe |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2024 |
Waveform and Spectrum: DR14
The vinyl mono Waxtime waveform shows a good dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
Like the stereo vinyl record, this mono vinyl record uses the DMM (Direct Metal Mastering) technique, making it possible to offer momo stereo versions at a reduced price. It lacks the finesse and transparency of the Japanese mono vinyl remastered in 2020.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : ” Freddie Freeloader” 24 bits 96 kHz:
Ed 31: Vinyl stereo ref: WaxTime 772359 – 2024
Presentation
This double-vinyl edition, released in 2024, features the album in both mono and stereo. However, WaxTime does not provide any information about the origin of the master and the quality of manufacture. This edition features the mono vinyl record.
| Label | WaxTime |
| Reference | 772359 |
| State | Stereo and mono Vinyl record |
| Type | Digital |
| Master | Direct Metal Mastering DMM |
| Mastering/Pressing | UK & Europe |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2024 |
Waveform and Spectrum: DR14
The vinyl stereo Waxtime waveform shows a good dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
Released in 2024, this editon uses the DMM (Direct Metal Mastering) gravuce, making it possible to offer mono stereo versions at a reduced price. It lacks the finesse, transparency and openness of the other vinyl versions, but it does better than the blue vinyl disc, which is well below this version.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : ” Freddie Freeloader” 24 bits 96 kHz:
Ed 32: Blue Vinyl ref : 350202 – 2020
Presentation
This is a transparent blue reissue of the vinyl record released in 2020. Bonus track : Blue in Green (Bill Evans Trio Version).
| Label | 20th Century Masterworks |
| Reference | 350202 |
| State | Translucent Blue Virgin vinyl 33 rpm 180g (Limited Edition) |
| Type | Digital |
| Master | Direct Metal Mastering DMM |
| Mastering/Pressing | Europe |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2020 |
Waveform and Spectrum: DR11
Theblu vinyl record waveform shows a limited dynamic range confirmed with DR11.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
It’s a very pretty transparent blue vinyl record, great for decoration, but not for listening to!
Rating:
- Dynamic: ●●●oo (3.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●oo (3)
- Restitution: ●●ooo (2.5)
Sample : ” Freddie Freeloader” 24 bits 96 kHz:
Ed 33: Music On Vinyl Vinyl ref MOVLP019 : – 2010
Presentation
This double-vinyl edition, released in 2024, features the album and bonus recordings of Flamenco Sketches[Alternate Take] and On Green Dolphin Street.
| Label | Music On Vinyl |
| Reference | MOVLP019 |
| State | Two LP 33 rpm 180g |
| Type | Digital |
| Master | Digital |
| Mastering/Pressing | Europe |
| Original recording | Analog |
| State | Europe |
| Year original | 1959 |
| Year production | 202010 |
Waveform and Spectrum: DR14
The vinyl MOV waveform shows a good dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Synthesis and listening
The pressing of the Music On Vinyl vinyl disc is very correct, and offers 2 bonus tracks as well as a second vinyl disc. Listening to it, the soundstage is less spacious than the UHQR version or the Japanese version of 2020 (Ed4).
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●o (4)
- Restitution: ●●●oo (3.5)
Sample : ” Freddie Freeloader” 24 bits 96 kHz:
Ed 34 : Vinyl Analog Production (corrected speed) – 2025
Presentation
This is the Analog Production corrected speed edition released in 2025. This vinyl record is released in pure analog (AAA). Side 1 Speed Corrected for recording adjustment and Side 3 Speed no Corrected. This edition also contains on Side 4 “Flamenco Sketches (alternate take)” cut at 45 RPM.
| Label | Analogue Productions |
| Reference | AAPJ 8163 |
| Format (speed) | 33.33 RPM 180g, (Side 4 : 45 RPM) |
| Type | Full analog production AAA |
| Master | Analog, mastered directly from the original 3-Track master tapes by Bernie Grundman. |
| Mastering/Pressing | Pressed at Quality Record Pressings |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2025 |
Waveform and Spectrum: DR14
The vinyl record waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Spectrum
The graph below compares the spectrum of the Vinyl Analog Production UHQR 33.33 rpm – 2021 (white curve) with the spectrum of the Vinyl Analog Production (corrected speed) – 2025 (blue curve). The curves of the two spectra overlap almost perfectly up to 14 kHz. Beyond this frequency, the 2025 version shows an increase in level, with a rise of about 5 to 6 dB between 15 and 20 kHz.
Synthesis and listening
This new vinyl edition from Analogue Productions is particularly interesting. Indeed, this 2-LP release includes both the uncorrected and corrected speed versions — the latter being the one used for the UHQR edition. It comes very close to the UHQR version, while offering slightly more detail in the upper treble (see the spectral comparison), making it a bit more analytical than the UHQR. Despite this difference, it delivers an excellent sound quality and, above all, a significantly lower acquisition cost, offering great value for money for those who prefer not to invest in the expensive UHQR editions.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (4.5)
- Restitution: ●●●●o (4.5)
Sample : “Freddie Freeloader” 24 bits 96 kHz:
Ed 35 : Blue Vinyl Analog Production (corrected speed) – 2025
Presentation
This is the Analog Production corrected speed Blue vinyl edition limited to 1,500 numbered copies released in 2025. This vinyl record is released in pure analog (AAA). Side 1 Speed Corrected for recording adjustment and Side 3 Speed no Corrected. This edition also contains on Side 4 “Flamenco Sketches (alternate take)” cut at 45 RPM.
| Label | Analogue Productions |
| Reference | AAPJ 8163BLU |
| Format (speed) | 33.33 RPM 180g, (Side 4 : 45 RPM), blue limted edition. |
| Type | Full analog production AAA |
| Master | Analog, mastered directly from the original 3-Track master tapes by Bernie Grundman. |
| Mastering/Pressing | Pressed at Quality Record Pressings |
| Original recording | Analog |
| State | US |
| Year original | 1959 |
| Year production | 2025 |
Waveform and Spectrum: DR14
The blue vinyl record waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises above 20 kHz (yellow arrow) with signal above this frequency (white arrow) containing musical information and distortion due to the vinyl record’s operating principle.
Spectrum
The graph below compares the spectrum of the Vinyl Ed 34 : Vinyl Analog Production (corrected speed) – 2025 (white curve) with the spectrum of the Ed 35 : Blue Vinyl Analog Production (corrected speed) – 2025. The curves of the two spectra match perfectly, confirming that the same sources were used for the pressing. Only the color of the vinyl record differs between the two editions.
Synthesis and listening
This limited blue edition shares the same characteristics as the Ed34 version, which features black vinyl records. As a result, it delivers a sound quality similar to that of the Ed34 Vinyl Analog Production (corrected speed) – 2025 edition.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●● (5)
- Surface noise: ●●●●● (4.5)
- Restitution: ●●●●o (4.5)
Sample : “Freddie Freeloader” 24 bits 96 kHz:
Ed 36: CD Audionautes Recording – 2023
Presentation
This is the CD Audionautes Recording released in 2023.
| Label | Audionautes Recording |
| Reference | AN-2311-UHQ |
| Format (speed) | CD |
| Type | CD PCM 16 bits 44.1 kHz |
| Master | remastered directly from the 3-Track D tape by Mark Wilder, using Presto 3 track tube deck, a modified GML mixer and a 3 track ATR 102 with Dolby SR at 15 ips.. |
| Mastering/Pressing | Ultimate HQ CD |
| Original recording | Analog |
| State | Made in Japan |
| Year original | 1959 |
| Year production | 2023 |
Waveform and Spectrum: DR14
The CD waveform shows a high dynamic range confirmed with DR14.
The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the CD 44.1 kHz .
Spectrum
The graph below compares the spectrum of the Ed11 CD Colombia (white curve) with the spectrum of the Ed 36: CD Audionautes Recording – 2023 (blue curve). The two spectral curves match perfectly up to 14 kHz. Beyond this frequency (yellow area), a level attenuation can be observed for the Audionautes CD: about 10 dB at 18 kHz and more than 20 dB at 20 kHz.
Synthesis and listening
The Audionautes Recording CD version is similar to the 1997 Columbia CD. It shares the same spatial balance in the positioning and rendering of the instruments. However, this Audionautes edition delivers a softer, more analog-like sound, partly due to the attenuation of the high frequencies above 16 kHz, as shown in the spectral analysis.
Rating:
- Dynamic: ●●●●o (4.5)
- Bandwidth: ●●●●o (4)
- Restitution: ●●●●o (4)
Sample : “Freddie Freeloader” 16 bits 44.1 kHz:
At the end of the first part of this review, we can distinguish two main categories in the rendering of this album.
A brighter rendering (attenuated bass, see spectrum analyses), which is more faithful to the 1960 stereo version, and a more balanced rendering, which refers to the 1960 mono version we tested.
On the latest remastered versions, it is the balance of the 1960 mono version that is used for the stereo versions (e.g. MOFI), and retained for the mono versions.
These include the excellent MOFI SACD and vinyl editions, as well as the fine Japanese reissues from 2020, available in stereo as well as mono (for those who prefer this type of listening).
Version 5.0 of the SACD provides excellent front-end spacialization, exploiting all 3 front channels.
For this update of the second part, the two-category classification is maintained. The second part adds the UHQR 33.33 and 45rpm vinyl versions in pure analog AAA (add Ed11 to Ed20). It’s the Analogue Production version in 45 RPM that brings the most recent pure analog edition, with the most natural rendering (balanced sound categorie) compared to the other vinyl editions. HDTT’s concept of offering direct tape digitization is very interesting, but doesn’t match the finesse and detail of the UHQR versions. For those who prefer the original vinyl version, you can find reissues with the original sound, like the 1968 version, but with the speed problem.
Here, then, is the third part of the test, featuring the 33 tested versions of this mytic album.
In summary, there are two main types of sound balance, with a brighter version, and a more bass-heavy version offering a more natural sound balance.
Among the best vinyl editions offering this sound balance are Analogque Production’s UHQR versions (especially the 45rpm version), offering a different sound space from other versions such as the MOFI, Japanese version from 2020.
For digital editions, the Japanese SACD and the MOFI SACD also offer this more natural sound balance, with much detail retransmitted in these versions.
There are many reissues available at reduced prices, such as WaxTime or the blue vinyl we tested, but it’s a bit of a gamble on quality (the blue disc we tested is not at the level of quality expected by an audiophile and will remain decorative), so it’s best to go for reissues from well-known record companies.
As far as multichannel versions are concerned, Jazz does not support the loss of quality brought about by lossy encoding (DVD, Atmos, 360RA), and it would be better to turn to Japanese SACD to take full advantage of this format and rediscover all the finesse of this album.
The samples are in high resolution, so that you can compare all these versions.
Because, while there are some excellent versions out there, often at very high prices, there are also other versions that are good or very good, at a much more reasonable price, allowing you to enjoy listening to this album.
Here is the fourth part of the review, featuring the addition of the 2025 Analog Productions vinyl editions and the HQ CD from Audionautes.
The two new Analog Productions vinyl releases offer an approach similar to the UHQR box sets, available in both 33 and 45 rpm versions. Although they don’t quite reach the same level, their excellent manufacturing quality and fully analog production chain result in a beautiful edition of this album.
Furthermore, the inclusion of two LPs — with and without speed correction — makes it possible to compare both versions while staying entirely within the analog domain.
For those who don’t own the UHQR versions, these more affordable editions remain very appealing.
As for the CD edition, Audionautes Recording offers a version without significant correction in the high frequencies, closer to the treble found on the BNF editions. The sound is therefore less bright but more faithful to the original listening experience, allowing each listener to choose according to their preference.
Dynamic Range measurements and spectra are shown below.
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Measurements
Dynamic Range comparaisons
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).
For our 36 editions reviewed have obtained the following Dynamic Range (DR) :
| Vinyl MFSL ref 2-45011 – 2015 | Vinyl ref : CS 8163 – NA-13-2011 – 2010 | Vinyl Clear ref : 19439802191 – 2021 | Vinyl Japan ref : SIJP 1020- 2020 | Vinyl Japan MONO ref : SIJP 1019- 2020 | SACD MFSL ref : UDSACD 2085 – 2015 | SACD Columbia stereo ref : CS64935 remastered 1997 | SACD Columbia multichannel ref : CS64935 remastered 1997 | BNF stereo Fontana ref 885113 TY – 1960 | BNF Mono Fontana ref 682 059TL – 1960 | CD Columbia-Legacy ref : CK 64935 – 1997 | CD Not Now Music ref : NOT2CD335 – 2010 | CD Box mono ref 88883756642 – 2013 | Amazon Music Ultra HD – 2024 | Vinyl Analog Production UHQR 33.33 rpm – 2021 | Vinyl Analog Production UHQR 45 rpm – 2022 | Japanese Vinyl ref : SONP 50027 – 1968 | CD Layer from SACD MFSL ref : UDSACD 2085 – 2015 | HDTT DXD – with speed correction – 2022 | HDTT DSD256 – 2022 | SACD Japan Stereo ref: SICP 10083 – 2007 | SACD Japan 5.1 ref: SICP 10083 – 2007 | CD from DVD Combo ref: CN 90887 – 2004 | DVD stereo ref: CN 90887 – 2004 | DVD 5.1 ref: CN 90887 – 2004 | Streaming Qobuz Stereo 24/192 – 2024 | Streaming Qobuz Mono 24/96 – 2024 | Apple Dolby Atmos – 2024 | Amazon Sony 360RA – 2024 | Vinyl mono ref: WaxTime 772359 – 2024 | Vinyl stereo ref: WaxTime 772359 – 2024 | Blue Vinyl ref : 350202 – 2020 | Music On Vinyl Vinyl ref MOVLP019 : – 2010 | Analogue Production Corrected speed vinyl – 2025 | Analogue Production Corrected speed blue vinyl – 2025 | CD Audionaute – 2023 | |
| Global | DR14 | DR15 | DR14 | DR14 | DR14 | DR14 | DR14 | DR15 | DR13 | DR13 | DR13 | DR11 | DR14 | DR15 | DR14 | DR14 | DR14 | DR14 | DR14 | DR14 | DR15 | DR15 | DR13 | DR14 | DR15 | DR14 | DR14 | DR15 | DR15 | DR14 | DR14 | DR11 | DR14 | DR14 | DR14 | DR14 |
| Min | DR12 | DR14 | DR13 | DR13 | DR13 | DR13 | DR14 | DR15 | DR13 | DR12 | DR12 | DR10 | DR13 | DR13 | DR13 | DR13 | DR12 | DR13 | DR14 | DR14 | DR14 | DR14 | DR12 | DR14 | DR14 | DR12 | DR13 | DR14 | DR14 | DR13 | DR13 | DR9 | DR13 | DR12 | DR12 | DR13 |
| Max | DR15 | DR16 | DR15 | DR15 | DR15 | DR15 | DR15 | DR16 | DR14 | DR13 | DR15 | DR13 | DR15 | DR16 | DR14 | DR14 | DR15 | DR15 | DR15 | DR15 | DR15 | DR15 | DR15 | DR15 | DR16 | DR14 | DR15 | DR15 | DR16 | DR15 | DR14 | DR13 | DR15 | DR15 | DR15 | DR15 |
| So What | DR14 | DR14 | DR15 | DR15 | DR14 | DR15 | DR14 | DR15 | DR13 | DR13 | DR12 | DR10 | DR14 | DR15 | DR14 | DR14 | DR14 | DR15 | DR15 | DR15 | DR15 | DR15 | DR12 | DR14 | DR15 | DR14 | DR14 | DR14 | DR15 | DR14 | DR13 | DR11 | DR14 | DR14 | DR14 | DR13 |
| Freddie Freeloader | DR15 | DR15 | DR15 | DR14 | DR15 | DR14 | DR14 | DR15 | DR13 | DR12 | DR12 | DR10 | DR15 | DR15 | DR14 | DR14 | DR15 | DR14 | DR14 | DR14 | DR15 | DR15 | DR12 | DR14 | DR15 | DR14 | DR15 | DR15 | DR14 | DR15 | DR13 | DR10 | DR14 | DR15 | DR15 | DR13 |
| Blue In Green | DR12 | DR14 | DR13 | DR13 | DR13 | DR13 | DR14 | DR15 | DR13 | DR13 | DR13 | DR12 | DR13 | DR13 | DR13 | DR13 | DR12 | DR13 | DR14 | DR14 | DR14 | DR14 | DR13 | DR14 | DR14 | DR14 | DR13 | DR14 | DR14 | DR13 | DR14 | DR12 | DR13 | DR12 | DR12 | DR13 |
| All Blues | DR15 | DR16 | DR14 | DR14 | DR14 | DR14 | DR15 | DR16 | DR14 | DR13 | DR13 | DR12 | DR14 | DR16 | DR14 | DR14 | DR14 | DR14 | DR15 | DR15 | DR15 | DR15 | DR13 | DR15 | DR15 | DR12 | DR14 | DR15 | DR16 | DR14 | DR14 | DR12 | DR15 | DR15 | DR14 | DR14 |
| Flamenco Sketches | DR14 | DR15 | DR14 | DR14 | DR14 | DR14 | DR15 | DR16 | DR14 | DR13 | DR15 | DR13 | DR14 | DR15 | DR14 | DR14 | DR15 | DR14 | DR14 | DR14 | DR15 | DR15 | DR15 | DR15 | DR16 | DR14 | DR14 | DR14 | DR16 | DR14 | DR14 | DR13 | DR15 | DR14 | DR14 | DR15 |
| Alternate Take of Flamenco Sketches* | DR15 | DR16 | DR13 | DR13 | DR14 | DR16 | DR9 |
As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.
Spectrum comparisons
The curve represents the average frequency distribution of the sample of the track Freddie Freeloader .
The graph below compares the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The spectra of the two versions are similar, although there is a difference in the low frequencies below 100 Hz (green zone), with an accentuation (up to 5 dB) for the vinyl record. Above 2 kHz (yellow zone), there’s a slight variation in levels, which becomes more pronounced above 15 kHz, where the vinyl record has a higher level (up to 8 dB). Above 20 kHz (red zone), SACD has a lower noise floor than vinyl. The Mofi vinyl record will provide more micro-detail with this accentuation at the top of the spectrum than other versions, especially vinyl records.
The graph below compares the spectrum of the Vinyl ref : CS 8163 – NA-13-2011 – 2010 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).The 2010 vinyl has a lower bass level (green zone) up to 5 dB below 400 Hz. Above 15 kHz (yellow zone), the treble of the Mofi vinyl record is accentuated. The signal (including noise) above 20 kHz (red zone) is higher on MOFI vinyl. The 2010 vinyl will therefore have a clearer sound.
The graph below compares the spectrum of the Vinyl Clear ref : 19439802191 – 2021 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).Transparent vinyl has a similar sound balance to MOFI vinyl, with a small difference in the lower end of the spectrum (green zone) of 2 to 3 dB below 80 Hz. At the upper end of the spectrum (yellow zone), the transparent vinyl record is up to 10 dB lower above 20 kHz than the MOFI vinyl. This difference is also found above 20 kHz (red zone).
The graph below compares the spectrum of the Vinyl Japan ref : SIJP 1020- 2020 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).The 2020 Japanese vinyl has a very similar tonal balance to the MOFI vinyl, with a small difference in the lower end of the spectrum (green zone) of 1 to 2 dB below 80 Hz. At the upper end of the spectrum (yellow zone), the Mofi record has a higher level above 15 kHz than the tranparent vinyl. This difference is also found above 20 kHz (red zone), with a slight rise in noise below 30 kHz.
The graph below compares the spectrum of the Vinyl Japan MONO ref : SIJP 1019- 2020 (white curve) with the spectrum of the Vinyl Japan ref : SIJP 1020- 2020 (blue curve).The Japanese vinyl record from 2020 mono and stereo are identical in terms of sound balance, with just a small difference above 3 kHz, which may be due to the difference between the mono and stereo mixes. Above 20 kHz (red zone), with a small rise in noise below 30 kHz.
The graph below compares the spectrum of the SACD Columbia stereo ref : CS64935 remastered 1997 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The Columbia SACD has a lower bass level (green zone) up to 5 dB below 600 Hz. There is also a very small difference between 3 and 7 kHz (yellow zone). The Columbia SACD will therefore sound clearer. Above 30 kHz, the SACD is filtered, which explains why we can’t see the rise in background noise due to the DSD64 used for the SACD.
The graph below represents the spectrum of the SACD Columbia multichannel ref : CS64935 remastered 1997 .
The tonal balance of version 5.0 is similar to the stereo version of the Columbia SACD. The surround channels have a lower level (yellow arrow) than the 3 front channels (left, right and center). Above 30 kHz, the SACD is filtered, which explains why we can’t see the rise in background noise due to the DSD64 used for the SACD.
The graph below compares the spectrum of the BNF stereo Fontana ref 885113 TY – 1960 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The BNF stereo version has a lower bass level (green zone) of up to 5 dB below 600 Hz than the MOFI SACD. There is also a more rapid attenuation of high frequencies above 17 kHz (yellow zone). The BNF stereo version will therefore sound clearer. The arrows show the frequency shift between the two versions. This is due to the difference in speed on the original BNF stereo version, which has not been corrected.
The graph below compares the spectrum of the BNF Mono Fontana ref 682 059TL – 1960 (white curve) with the spectrum of the BNF stereo Fontana ref 885113 TY – 1960 (blue curve).The 1960 BNF stereo version has a lower bass level (green zone) up to 5 dB below 600 Hz than the 1960 BNF mono version. It is this tonal balance that serves as a reference and that is found on the latest stereo or mono editions (MOFI, Japanes 2020…) of the album. There is also a more rapid attenuation of high frequencies above 15 kHz (yellow zone). The BNF streo version will therefore sound less clear than the 1960 stereo version.
The graph below compares the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (white curve) with the spectrum of the Amazon Music Ultra HD (blue curve).The spectra of the two versions are very similar, with a small difference at the lower end of the spectrum (green zone), 1dB more for the streaming version. Beyond 20 kHz (red zone), the rise in SACD noise is not visible, thanks to the use of 30 kHz filtering.
The graph below compares the spectrum of the CD Columbia-Legacy ref : CK 64935 – 1997 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The tonal balance is different between the two versions, with an attenuation in the low frequencies (green zone) for the Columbia CD (up to 5 dB) compared to the MOFI SACD. The yellow arrow indicates a high degree of similarity in response at the top end of the spectrum. The red zone shows the CD’s limitation to 22 kHz due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the CD Not Now Music ref : NOT2CD335 – 2010 (white curve) with the spectrum of the CD Columbia-Legacy ref : CK 64935 – 1997 (blue curve).The tonal balance is different between the two versions, with an attenuation in the low frequencies (green zone) for the Columbia CD (up to 5 dB) compared to the Not Now Music CD. The red zone shows a difference in high-spectrum filtering above 20 kHz.
The graph below compares the spectrum of the CD Box mono ref 88883756642 – 2013 (white curve) with the spectrum of the Vinyl Japan MONO ref : SIJP 1019- 2020 (blue curve).The spectra of the two versions are very close, with a small difference at the bottom of the spectrum (green zone), 1dB more for the vinyl version. The CD version has a treble level (yellow zone) a few dB higher than the mono vinyl.The red zone shows the CD’s limitation to 22 kHz due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Amazon Music Ultra HD (white curve) with the spectrum of the CD Columbia-Legacy ref : CK 64935 – 1997 (blue curve).The tonal balance is different between the two versions, with the low frequencies (green zone) on the Columbia CD attenuated by up to 5 dB compared to the Amazon streaming version. The yellow zone shows small variations at the top of the spectrum. The red zone shows the CD’s limitation to 22 kHz due to the 44.1 kHz sampling frequency.
The graph below compares the spectrum of the Vinyl Analog Production UHQR 33.33 rpm – 2021 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).The two versions differ in their spectra. The zone shows a difference in the low end of the spectrum (1 to 2 dB). The purple zone shows a difference in the midrange, with a higher pls level for the UHQR vinyl (up to 4 dB). The green zone shows the accentuation above 14 kHz of the MFSL vinyl. The yellow arrow indicates a rise in noise on UHQR vinyl.
The graph below compares the spectrum of the Vinyl Analog Production UHQR 45 rpm – 2022 (white curve) with the spectrum of the Vinyl Analog Production UHQR 33.33 rpm – 2021 (blue curve).The two spectra overlap perfectly up to 10 kHz. A small difference appears beyond that (yellow zone). The yellow arrow indicates a rise in noise above 20 kHz.
The graph below compares the spectrum of the Japanese Vinyl ref : SONP 50027 – 1968 (white curve) with the spectrum of the Vinyl MFSL ref 2-45011 – 2015 (blue curve).The two spectra are shifted in frequency due to non-correction of the speed on the 1968 vinyl record. There’s also a big difference at the bottom of the spectrum (green zone), with more than 5 dB more below 100 Hz for the MFSL vinyl. Beyond 10 kHz (yellow zone), there’s a sharp attenuation of the level beyond 15 kHz for the 1968 vinyl record.
The graph below compares the spectrum of the CD Layer from SACD MFSL ref : UDSACD 2085 – 2015 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The 2 spectra overlap perfectly up to 20 kHz. The CD cuts at 22 kHz (yellow arrow) due to the 44.1 kHz sampling frequency used.
The graph below compares the spectrum of the HDTT DXD – with speed correction – 2022 (white curve) with the spectrum of the Vinyl Clear ref : 19439802191 – 2021 (blue curve).The two spectra are similar, with the bass level (green zone) slightly more pronounced on the vinyl record, and the treble level (yellow zone) up to 10 dB lower at 20 kHz than on the transparent vinyl record.
The graph below compares the spectrum of the HDTT DSD256 – 2022 (white curve) with the spectrum of the HDTT DXD – with speed correction – 2022 (blue curve).The two spectra are shifted in frequency due to the non-correction of the speed on the DSD256 version. But the two spectra are very similar, with a difference in noise above 18 kHz (yellow arrow) in favor of the DXD version.
The graph below compares the spectrum of the SACD Japan Stereo ref: SICP 10083 – 2007 (white curve) with the spectrum of the SACD MFSL ref : UDSACD 2085 – 2015 (blue curve).The two spectra are similar, but with differences at the bottom of the spectrum (green zone) up to 2 dB more for the MOFI SACD, and in the middle of the spectrum (yellow zone) with up to 3dB less for the MOFI SACD. The yellow arrow shows the rise in noise on the Japanese SACD (normal for DSD64) due to the fact that there was no filtering above 25 kHz during playback compared to the MOFI SACD.
The graph below represents the spectrum of the SACD Japan 5.1 ref: SICP 10083 – 2007.
Unlike the 5.0 SACD xxx, the Japanese SACD features a 5.1 track with a strong presence of the front channels. The bass track is used and not filtered.
The yellow arrow indicates the rise in noise due to the DSD64 used for SACD.
The graph below compares the spectrum of the CD from DVD Combo ref: CN 90887 – 2004 (white curve) with the spectrum of the CD Columbia-Legacy ref : CK 64935 – 1997 (blue curve).Perfect superposition of the two spectra, the two CDs were made from the same master.
The graph below compares the spectrum of the DVD stereo ref: CN 90887 – 2004 (white curve) with the spectrum of the CD from DVD Combo ref: CN 90887 – 2004 (blue curve).The two spectra are very similar, with just a small difference at the top of the spectrum (yellow zone) and in the maximum frequency (yellow arrow), which is 24 kHz for DVD (using a 48 kHz sampling frequency) and 22 kHz for CD (using a 44.1 kHz sampling frequency).
The graph below represents the spectrum of the DVD 5.1 ref: CN 90887 – 2004.
Version 5.1 continues to emphasize the front channels. Dolby Digital encoding at 448 kbit/s limits the bandwidth to 20 kHz (yellow arrow), while the 48 kHz sampling frequency allows for up to 24 kHz (white arrow).
The bass channel (LFE) is not used (green arrow).
The graph below compares the spectrum of the Streaming Qobuz Stereo 24/192 (white curve) with the spectrum of the DVD stereo ref: CN 90887 – 2004 (blue curve).Perfect superposition of the two spectra up to 48 kHz, which is the maximum frequency for the Amazon Music version presented with a sampling frequency of 96 kHz.
The graph below compares the spectrum of the Streaming Qobuz Mono 24/96 (white curve) with the spectrum of the CD Box mono ref 88883756642 – 2013 (blue curve).Perfect superposition of the two spectra up to 22 kHz, which is the maximum frequency for the CD presented with a 44.1 kHz sampling frequency, while the Qobuz version continues up to 48 kHz (96 kHz sampling frequency) (yellow arrow).
The graph below represents the spectrum of the Apple Dolby Atmos.
The Dolby Atmos version decoded in 7.1 still emphasizes the front channels. Dolby Digital Plus encoding at 768kbits/s limits the bandwidth to 20kHz (yellow arrow), while the 48kHz sampling frequency allows up to 24kHz (white arrow).
The bass channel (LFE) is used and filtered at 120 Hz (green arrow).
The graph below represents the spectrum of the Sony 360RA.
The 360RA version decoded in 7.1 still emphasizes the front channels. MPEG-H encoding limits the bandwidth to 20kHz (yellow arrow), while the 48kHz sampling frequency allows up to 24kHz (white arrow). The bass channel (LFE) is not used (green arrow).
The graph below compares the spectrum of the Vinyl mono ref: WaxTime 772359 – 2024 (white curve) with the spectrum of the Streaming Qobuz Mono 24/96 (blue curve).The two spectra overlap almost perfectly up to 22 kHz. The vinyl record was certainly made with a CD master. We find the CD cutoff at 22 kHz.
The graph below compares the spectrum of the Vinyl stereo ref: WaxTime 772359 – 2024 (white curve) with the spectrum of the SACD Japan Stereo ref: SICP 10083 – 2007 (blue curve).Les deux spectres sont tr s similaires avec une diff rence de 1 2 dB entre 150 Hz et 600 Hz (Zone verte).
The graph below compares the spectrum of the Blue Vinyl ref : 350202 – 2020 (white curve) with the spectrum of the CD Columbia-Legacy ref : CK 64935 – 1997 (blue curve).The two spectra are very similar, with a difference above 12 kHz (yellow zone), but keeping the same overall shape. The blue vinyl could have a master similar to that used for the CD (Ed11) or use the CD directly as a source.
The graph below compares the spectrum of the Music On Vinyl Vinyl ref MOVLP019 : – 2010 (white curve) with the spectrum of the Streaming Qobuz Stereo 24/192 (blue curve).The spectra are similar, with a difference of a few dB between 100Hz and 500 Hz (green zone), and small differences (less than 1 or 2 dB) above 15 kHz (yellow zone). The red arrow indicates a spurious peak just below 30 kHz on the vinyl record.
Detail of the ratings :
- Dynamic :
- Significant dynamic compression, DR less than 7
- Compression of the present dynamics, DR between 7 and 9.
- Correct piece DR >=10
- No dynamic compression (DR >12), dynamic rendering
- No dynamic compression, high DR and very dynamic sound rendering
- Spectrum :
- Spectrum cut and less than 15 khz
- Spectrum cut at 15 khz
- Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
- Spectrum conforming to the original (but not HD)
- Spectrum conforming to the original with HD resolution (higher than 24kHz)
- Surface noise (only for vinyl):
- Continuous audible noise
- Audible surface noise except on passages with a high level of noise
- Reduced surface noise, barely audible on low level crossings
- Low surface noise, very good quality
- Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
- Spatialization :
- Between 0 and 5 for 5.1 or 7.1 channels configuration
- Between 0 and 10 for Atmos configuration (7.1.4)
- For more information on spatialization, you can read the article describing this parameter here.
- Restitution :
- Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
- Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
- High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
- Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.
Merci beaucoup pour ce travail considérable, précis et précieux.
Merci Julien!
Simply titanic work
Thanks a lot
Merci pour cette présentation de qualité. En effet, il existe de nombreuses éditions de Kind of blue. Si on se limite au format audio optique, il existe le compact disc, le SACD (hybrid ou non), le Blu-spec CD, le UHQCD etc. Parfois il s’agit d’une qualité différente du support physique ou de la matrice, parfois d’une différente d’encodage etc. Le problème, c’est que par dessus tout ca, les masters ne sont pas forcément les mêmes, et il n’est pas toujours facile de savoir auquels on a à faire. La différente de son est elle alors due au support ou au master ? Pour finir sur MOFI, il avaient été pris dans le sac du “mensonge” en affirmant (et le mettant sur leurs pochettes) qu’ils partaient des bandes originales analogiques, il s’est avéré que s’était faux : à vérifier, mais je pense qu’ils partent souvent de supports numériques y compris des CD ou SACD (produits par Sony/Columbia dans le cas de Kind of blue, puis assurent un gros travail de remasterisation. Pour partir des bandes originales, il faudrait que Sony leur confient …
Merci!
Effectivement, ce qui est important c’est l’encodage utilisé pour un format optique. On trouve par exemple sur le CD, le format PCM 16 bits 44.1 kHz, mais aussi le HDCD qui encode des informations supplémentaires dans le PCM 16 bits 44.1 kHz (pour avoir du 20 bits avec un décodeur HDCD), ou le CD-MQA qui encode du MQA dans le PCM 16 bits 44.1 kHz (pour proposer des fréquences d’échantillonnage plus élevées). Comme ces formats sont différents, les résultats peuvent être différents à l’écoute.
Par contre, Un CD normal ou doré (ou HDCD, Blue-spec CD) compatible au standard CD-DA et qui utilise le même format PCM 16 bits 44.1 kHz avec le même master donnera le même signal numérique lors de la lecture s’il n’y a pas d’erreurs lors de la lecture.
Concernant MOFI, ils utilisent bien les bandes master originales analogiques (ou numérique si la musique a été enregistré en numérique) comme source. Le problème qui a été levé avec MOFI, c’est le fait de ne pas faire toute la chaine de masterisation en pure analogique depuis les bandes analogiques. En effet, sur leurs premiers disques, il pouvait partir des bandes master analogiques, prêtées par les maisons de disques, qu’ils utilisaient dans leur studio. Mais, par la suite, les majors ont interdit la sortie de ces bandes trop fragiles, MOFI se déplace donc et fait une copie, non pas sur une bande analogique, mais en numérique. Au début en DSD64 puis en DSD256. On a donc une double conversion Analogique/numérique et numérique/analogique dans la chaine de mastering avant gravure de la laque pour la fabrication des disques vinyles.
Encore merci Jean-François pour ta collaboration dans le cadre de L’ÉCOUTE CRITIQUE DE DISQUE que nous développons dans le magazine Vinyle&Audio.
L’album qui a révolutionné le jazz est à découvrir dans le numéro 26, qui est distribué actuellement dans les kiosques.
L’historique de l’album ne figure pas dans l’article. Aussi je vous propose d’en prendre connaissance dans ce bref aperçu :
Sorti le 17 août 1959 sous le label Columbia Records, Kind of Blue a été enregistré en deux journées, 2 mars et 22 avril, au studio Columbia 30th Street Studio, à New York. Il est à la fois l’album de jazz le plus vendu de tous les temps et le début d’une révolution artistique. Miles Davis, à la trompette, est entouré de Julian Adderley (saxophone alto), Paul Chambers (contrebasse), James Cobb (batterie), Bill Evans (piano), John Coltrane (saxophone). « Miles Davis avait dix-neuf ans lorsqu’il est arrivé à New York, en 1945. Il a très vite remplacé Gillespie, devenant le trompettiste de Parker pendant quelques années, reproduisant fidèlement le style de Diz et Bird, comme on les appelait. Dix ans plus tard, lui aussi se demandait ce qui pourrait bien faire avancer le jazz. La réponse vint d’un de ses amis, un certain George Russell (mort en juillet 2009 à l’âge de 86 ans). Russell était un compositeur et un spécialiste de génie. Il avait passé la majeure partie des années 1950 à concevoir une nouvelle théorie de l’improvisation de jazz, basée non seulement sur les grilles d’accords mais aussi sur les gammes, ou (plus précisément) les « modes ». On appelait généralement ce type de musique le « jazz modal ». En jouant un morceau de blues, vous savez que la grille d’accords prendra fin dans 12 mesures (ou, si c’est une ballade, 32 mesures) ; ensuite, soit votre solo prend fin, soit vous reprenez tout depuis le début. Russell décida d’en finir avec cette « méthode. » Il était possible, selon lui, de jouer toutes les notes d’une gamme, en d’autres termes, toutes les notes possibles et imaginables. En fait, le musicien devait jouer sa propre partition, sans avoir à se soucier des accords, écrivait-il. Autrement dit, vous êtes libre de faire ce que vous voulez, à partir du moment où vous savez quand commencer et quand vous arrêter. Une nuit de 1958, Russell s’assit devant un piano avec Davis et lui montra de quoi sa théorie était capable, comment lier les accords, les gammes et les mélodies pour en faire des combinaisons sans fin. Dans une interview accordée au critique musical Nat Hentoff, Miles expliqua les bases de la nouvelle approche. Il lui fallait désormais trouver un pianiste capable de l’accompagner sans jouer les accords. Un concept révolutionnaire. Les accords permettaient aux musiciens d’instruments à vent de se repérer, de contrôler leurs improvisations. Le travail du pianiste était de servir de « boussole ». Russell recommanda un pianiste qu’il avait engagé pour quelques-unes de ses propres séances. Son nom : Bill Evans. » Fred Kaplan (Publié sur Slate en 2009, à l’occasion du 50e anniversaire du disque). Nous avons pu lire : « La musique de jazz peut sembler être une cacophonie de cuivres et de percussions, mais pour une oreille avertie, le jazz est la liberté d’exprimer la musique sans se soucier des conventions. L’essence du jazz est l’improvisation. »
N’est-ce pas la plus belle définition que l’on puisse donner à l’album Kind of Blue ?
Jean Razzaroli
Rédacteur et testeur de matériels pour le magazine Vinyle&Audio
Merci Jean!
Pourquoi ne pas inclure dans la comparaison la version reel to reel?
Je n’ai pas eu l’opportunité d’avoir une version reel to reel pour faire le test. Je l’ajouterai au test si je peux accéder à ce media.
I didn’t have the opportunity to get a reel to reel version to do the test. I’ll add it to the test if I can access this media.