These may sound OK, better than the CDs, but I'm confident ( without hearing ) that an opportunity has been needlessly wasted. I need a solid sound impression in 30 days or less. Would that be deemed preemptive? I hope not. Would someone with a decent system be willing to comment on the sound at this website. I would certainly check Music Directs return policy specifically regarding this box before I open it. But then I might have trouble returning the box. Preamp - middling, amps better, speakers - nice. I'm away and cannot listen on my system, I could run up to Listen Up in Albuquerque and check out an album or two there, but their turn table is strictly entry level. I would be very surprised if Micheal can find these to be spacious and three dimensional. Some one needs to have a follow up conversation when the review is complete.

Where is the disconnect? Sean had to know that what he was mastering was inferior to what could easily could have even laid down. I feel that Sean is the target that has been put out there, he is responsible, he should tell us why he feels justified in in his product. That specification imposes limitations that either they do not care to admit or are somehow unable to appreciate. Can anyone penetrate the thought process of those making that decision. How about musicality? Do they not understand that vinyl is more capable. It's like these guys are completely cut off from from high end audio, not to mention simple technical rationality. Was Sean asked why? I really can't get my head around why a a vinyl album wouldn't be made from a higher sampled down rate. Is there some other way to hear it? Help ! Are you going to transcribe it for your readers. Can someone say where the Euro pressing where made? I have to say, the fact that these are 44.1 files really takes the wind out of my sails. It was during this bohemian period that the budding star RuPaul lived there.I've been reading from this site on my ipad so mabey I'm missing some flash link, I don't see a link to the interview. The assembly hall is now the Jane Ballroom, which spent some time as a theater in the ‘80s and ‘90s, hosting off-Broadway performances of Hedwig and the Angry Inch and other raucous events. Most of the building’s outside remains unchanged, although they removed the light beacon from the corner tower, a landmark of its earlier days. The tenants, who were paying about $200 a month, fought the renovations, but in the following years the Jane became an affordable way to stay in the same cabin-sized rooms the sailors did a century ago. The building was neglected over the next several decades until Sean MacPherson and Eric Goode bought it in 2007. It garnered a rough reputation for housing drug addicts and prostitutes. In April 1912, in the days following the tragedy, the Institute took in the 100 surviving crew members while they waited on an American inquiry into the Titanic’s fate.īy the ‘50s the neo-Classical building had become the Jane West hotel.

Rooms were only a quarter a night (double for captains), and within the first year, over 16,000 men had taken advantage of what an annual report in 1911 called, “a bright, airy, comfortable place to sit without being annoyed by the fumes of liquor or soul-rasping profanity.” Ostensibly, the mission was to provide aid to sailors though the Christian reform organization apparently also attempted to civilize them. The building, the American Seamen’s Friend Society Sailors’ Home and Institute, was built in 1908 to accommodate the society’s growing membership. They cried and prayed and Miss Josephine Upham played the piano while they sang “Nearer My God to Thee.” The next day the New York Times noted the song’s “mighty, roaring chorus” that filled the hall. They held a memorial service for those lost just four days before, swallowed up by the freezing Atlantic. On April 19, 1912, surviving crew members of the RMS Titanic gathered in the small assembly hall of the American Seaman’s Friend on Jane Street.

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