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Anker PowerLine Lightning (10ft) Apple MFi Certified Lightning Cable / Charger Cord, for iPhone 6s/6s Plus/6/6 Plus/5s/5, iPad mini/4/3/2, iPad Pro Air 2
Anker PowerLine Lightning (10ft) Apple MFi Certified Lightning Cable / Charger Cord, for iPhone 6s/6s Plus/6/6 Plus/5s/5, iPad mini/4/3/2, iPad Pro Air 2
Offered by AnkerDirect
Price: $49.99

0 of 1 people found the following review helpful
5.0 out of 5 stars Absolutely lives up to the hype, best USB>Lightning cable I've used., August 8, 2016
This cable is everything it's hyped to be. Incredible build quality, excellent flexibility due to the 10ft reach and I have a 6ft USB extension cable from Belden and this works every bit as good even when extended by an additional 6ft. Comes in handy when your device is dying but you don't want to sit near a socket, AC > USB > 6FT > 10FT, nice!

We have three devices, iPad, iPhone 5c and iPhone SE and this cable fits very nice and snug in all three.

I would buy Anker's products again with no qualms.

I use an Otterbox Rugged on the iPhone 5c and my spouse uses the Lifestyle FRĒ for her iPhone SE, this cable has no issues with either case.


Rage Against The Machine
Rage Against The Machine
Price: $27.22
10 used & new from $27.22

3 of 4 people found the following review helpful
5.0 out of 5 stars This new analog > DSD mastering by Steve Hoffman on Hybrid SACD is the definitive version of the stunning RATM debut, August 3, 2016
Rage Against the Machine, 1992, the debut album that took much of the Alternative world by storm with its rap/rock/metal/funk fusion and politically-charged lyrics. An album that was released just before the loudness wars began to rear their ugly heads. An album whose original vinyl release was cut directly from the ½” 30ips analogue tapes by Bob Ludwig (original 1992 mastering engineer) and has long been sought after by RATM fans as the definitive cut of the album, an album whose 20th anniversary “XX” edition was massacred in the mastering room by loudness wars champion Vlado Meller rendering it a pale shadow of it’s former 1992 CD release which retained a substantial amount of dynamics, an album you’d never think might be released by a specialty audiophile label…arrives on Super Audio CD Hybrid via Audio Fidelity mastered by Steve Hoffman!

I recall first hearing Killing in the Name very well, the incredibly catchy hooks, that massive ending, the sheer power of the refrain “F you I won’t do what you tell me” as a 19 year old angry young man resonating with every fiber of my being…this was some band! From start to finish this album is filled with similarly catchy tracks, great percussion, funky azz bass, angrily rapped vocals and some of the gnarliest, unique guitar playing we had heard of at the time. No samples? Amazing. The album still holds up well, but as previously mentioned the XX edition was horrifically mastered and sounds like gash on a decent system.

I’ve heard great things about the original US vinyl, which was the only vinyl release cut directly from the analogue tapes. Much discussion online over the years has conclusively determined that the ’92 European/UK vinyl and the Music On Vinyl reissue (MOVLP043) using the original EU/UK metal parts, used digital files sent to the EU/UK to create the vinyl by Bob Ludwig at Masterdisk. Had Bob cut lacquers to be sent there, there would not be a difference in decibel level and the EU/UK copies would have the MASTERDISK stamp on them. So to date, the original US vinyl has been the holy grail for this album. The original CD itself is no slouch, scoring DR9 on the TT Meter for measuring average dynamic range…the higher the number the better. One thing to consider about the original US vinyl pressing though is the running times, they are around 25 mins/side. One can’t help wonder how much potential was left behind in the cutting studio by not going to a 33rpm 2LP set or ever a 45rpm 3LP set. How much more magic was in those analogue tapes that didn’t transfer to the original vinyl or CD releases? Now we know!

The new Hybrid SACD release from Audio Fidelity may not be for everyone. There is no dynamic range compression (no brickwalling, no limiting) and no EQ twiddling, something that is evidently applied to the original vinyl and CD releases and massively applied to the awful XX 20th anniversary release. There may be some people that prefer the heavy handed compression on the XX release, those listening in cars with generic factory systems, those listening in the gym while working out using entry-level in ear buds, those listening on little systems in the home not designed for audiophile playback; there will be those that still prefer the Bob Ludwig mastering with a little limiting and eq’ing applied, everyone will experience listening to music differently. However if you love the physiological response one can get from fully dynamic music, the power of proper dynamic range allowing the quiet parts to be quiet and the loud parts to be loud, the natural air of the percussion and thundering depths plummeted by the bass and kick drum, the new Steve Hoffman mastering is for you. Steve Hoffman managed to use the original ½” 30ips analogue stereo master for this Hybrid SACD release, in my opinion SACD is the best format for a digital conversion of an analogue tape avoiding PCM…although this is referring to current consumer media supported in a substantial number of playback systems and doesn’t mean DXD or 128DSD wouldn’t have been better. I’ve never heard them, so I can only comment on what I know. The SACD sounds incredible here, when it first arrived after a few release date delays I wanted to just hear one track as I was busy with something else at the time, put on “Take The Power Back” and ended up listening to the balance of the album! These tracks are so powerful, hearing them as closely as possible to how they sounded on the original tapes is an opportunity those with decent playback systems and fans of this album should not miss.

As this is a Hybrid SACD, the Steve Hoffman mastering is also presented on the CD layer playable on all CD players.

It is worth noting that without decent production, no album can sound good. It’s clear that “ggarth” and RATM nailed the recording of this album back in the day, how brilliant that in 2016 we’re able to get an audiophile release of this album after the disappointment the XX anniversary release brought.


Foster Grant Men's Sport Sunglasses (1062) 100% UVA & UVB Protection-Shatter Resistant + FREE BONUS MICROSUEDE CLEANING CLOTH
Foster Grant Men's Sport Sunglasses (1062) 100% UVA & UVB Protection-Shatter Resistant + FREE BONUS MICROSUEDE CLEANING CLOTH
Offered by Vision RX
Price: $10.99

4.0 out of 5 stars Foster Grant needs to get some metal frames back, these are so light! Good for many I'm sure., July 25, 2016
Verified Purchase(What's this?)
A few years back Foster Grant removed a line of Ironman shades that featured metal frames and they were nice, wide sunglasses so for someone with a bigger head like me, they were excellent. I went back to Target after ruining my first pair to find another, couldn't find them. Went online, couldn't find them. Contacted Foster Grant, the model was discontinued but they did have four pairs in their warehouse...I ordered all of them! This was possibly around 2011. The final pair has become damaged so I was seeking out a new pair and given how hard it is to maintain sunglasses properly and how rigid I am about having zero imperfections on my lenses (they have to be perfectly clean!), I went looking for another pair from Foster Grant as their prices are rock bottom.

The seller sent these well packaged, they were shipped very quickly and arrived just a few days after ordering. Wowza, are these ever lightweight! The difference is very noticeable. They feel like they could fly away! They are not as dark to look through as my previous FG sunglasses but the view is very nice and clear, the legs work well with my Chums 5mm Universal Fit Rope Eyewear Retainer, Black and I have some good microfiber cloths to clean them with, these ones - 4 Combo Pack mimogram New Premium Anti-Bacterial Magic Microfiber Cleaning Cloths - Extra Large Cloths for Larger Screens - LCD, LED,3D, Plasma TV Screens, iPad, Mac, iPhone, Samsung, Microsoft Surface, Laptop, Tablet, Cell Phone and All Kind of the Screen Surfaces.(4 Pack Over Size Combo. 3 Black Over Size 14"x12", 1 Grey 7"x7")

The other FGs I had allowed the bottom of the lenses to sit on my cheeks, they weren't overly big, they were just nice and snug and as "witchdoctors" allowed very little vision of my eyes from the outside, these new glasses sit on the nose and the bottom of the lenses are about 3-4mm off the cheek, not ideal. I will continue to search for a good cheapie pair of sunglasses but in the interim I'm happy with this model.


Samsung BD-J5900 Curved 3D Blu-ray Player with Wi-Fi (2015 Model)
Samsung BD-J5900 Curved 3D Blu-ray Player with Wi-Fi (2015 Model)
Price: Click here to see our price
106 used & new from $42.34

4.0 out of 5 stars As a back-up or secondary Blu-ray player the price is right - also has digital coax for older AVRs with no HDMI, July 21, 2016
I've run this through its paces so far and it seems to work very well.
First negative thing, no LED anywhere! No idea whether or not it's off or on unless your TV is on to see the menu. Very peculiar, don't think I've ever seen that before although I've often wished it could be a user option for when you're watching a movie to shut off all lighting so you only see your TV! No display for running time, I guess that's more common on cheapie models.

WiFi connected super fast, discs load up very quickly, settings were mostly easy to navigate.

This is for the system at my in laws, they have my old AVR which doesn't have HDMI and the old Samsung BD-P2550 (2008) is no longer loading Blus...not worth getting that old dino fixed even though it was a $350 player upon release due to multichannel analog outs, profile 2.0, etc. You know, the good old format wars knowledge stuff.

Many of today's BD players only have HDMI, I needed a digital option for the audio for the older receiver rather than spending $300 upgrading it so the BD-J5900 was the perfect choice, $49.99 on Prime Day! I also tested out MKV functionality, so many players stutter and crash on Blu-ray quality MKV rips but this one played them flawlessly and loaded them super fast...with one caveat...NO AUDIO! It does not support dts-HD Master Audio or TrueHD in an MKV stream, but you CAN change the digital audio output to dts remixed or Dolby remixed and then you'll get the audio no problem. I'm not sure why it doesn't recognize the lossless codecs, but the remix option should suffice for an instance like mine where I'm using it with an old satellite 5.1 system that's not exactly going to reveal the nuances between the dts core and the Master Audio lossless track! Where this for my main system in my house it would be a different story and I would be disappointed.

Tried 24-bit high rez stereo tracks from USB, plays flawlessly. Easy to set HDMI options, quite a flimsy player and very light but tiny footprint too...you wouldn't expect an all metal frame weighing 10lbs for this kind of money.

Remote is easy to use and responsive, HDMI handshaking was very quick. If you're looking for a cheap back-up Blu-ray player I have no issues recommending this one. Has a tonne of streaming features too including Amazon, Netflix, Hulu, etc. Also plays 3D Blu-ray Discs although I don't watch them and didn't test them so I have the 3D set to always convert to 2D. Why? Because some movies have remastered picture that's only available in 3D like Top Gun, converting to 2D gives you a better movie experience than the 2D version, peculiar I know but that's major studios for you!


Crash Anniversary Edition
Crash Anniversary Edition
Price: $29.99
23 used & new from $24.82

20 of 20 people found the following review helpful
5.0 out of 5 stars DMB hits a home run with this all analogue vinyl treatment of Crash in its 20th anniversary year, July 15, 2016
Verified Purchase(What's this?)
This review is from: Crash Anniversary Edition (Vinyl)
Having seen some great changes in the vinyl philosophy of Dave Matthews Band releases between 2012 and 2014 including moving Live Trax pressing away from United to Record Industry and now MPO, it was a little disappointing in 2014 when Under The Table and Dreaming was cut to vinyl from digital files mastered by Ted Jensen. If you want to know more about that release, please see my review here - http://www.amazon.com/review/R2WU0KTOS4WXO/ref=cm_cr_rdp_perm?ie=UTF8&ASIN=B00O5HX2EK

Fast forward to 2016 and an early retailer listing faux pas gave us the news that created an early buzz about this release, this time we would see an all analogue affair with the first release of Crash on vinyl! The original analogue stereo master tapes were sent directly to Bernie Grundman Mastering and were cut and mastered for vinyl by Chris Bellman. The record is being offered as an Amazon-exclusive 150g splatter pressing and a 180g traditional black vinyl pressing through all other retail channels.

So how does it sound to finally hear Crash devoid of the copious amounts of clipping heard on the Compact Disc? Sublime! There is a lot of high frequency energy on this album, in particular in spots like the intro to #41 with the sibilants of Carter’s hi-hat, but it is immaculately resolved. There are very few other recordings of DMB I can think of where Carter’s kit sounds as lifelike as this, there was clearly magic in those tapes that didn’t transfer over fully to the original CD release and certainly there are more dynamics being resolved here.

The 2LP set runs at 20 minutes or less per side, allowing the record to be cut nice and loud. There isn’t much tamed here, so if you’ve been considering a cartridge upgrade or a turntable tune-up now is the time to do it. This record is not for weak systems! Like I said, it has a LOT of high frequency energy. When you turn it up, Carter’s hi-hat is right in front of your face, a visceral experience.

I hadn’t listened to Crash in a while from start to finish, but did so a few times listening to test pressings of this record. It really is an excellent studio effort, masterfully produced by Steve Lillywhite. Even Let You Down which is routinely panned in online communities as the odd man out on this record, beckons you to enjoy listening all the way through. With this fully dynamic mastering every facet of this recording breathes new life. Stefan’s bass and Carter’s kick drum and lower toms sound fuller and more powerful, it makes their performances more readily accessible. I appreciate often what Stefan is doing but I noticed it so much more listening to this record, moments on DIDO reminded me of McCartney’s brilliant playing on Taxman.

A few notes on the different releases. There is only one set of lacquers for this release, whether you buy the 150g splatter vinyl from Amazon or the 180g black vinyl from anywhere else, you’re getting the exact same mastering. The weight of vinyl has no bearing on the sonics, a heavier record may hold its shape better if it’s handled properly in the shipping chain, but it’s not going to SOUND better. Color is another oft-debated topic. I believe that when good vinyl compound is used and you’re pressing your records at a pressing house that takes pride in its releases like QRP, Optimal, RTI, Pallas, MPO, Record Industry, etc., that you’re should have an excellent record no matter what you use. This does not include compounds with foreign substances in them like glitter, or picture discs which are all rubbish, but otherwise my personal experience hasn’t resulted in me concluding that black is the only way to go, there is so much more that’s important about a release than color. That said there have been a few complaints about excessive nonfill on the splatter edition which sold out during the preorder window. There are no plans to the best of my knowledge to press more splatter variants.

In an age where so many albums are being released on vinyl to cash in on the format’s resurgence, it would have been easy to sit back and just cut the original CD to vinyl and advertise it as “180g Audiophile Vinyl” which really just means you’ve used a high quality vinyl compound. Instead DMB’s management has been listening to what the fans want from a vinyl release and delivered in spades.

Crash is pressed at MPO in France.
Comment Comments (5) | Permalink | Most recent comment: Jul 18, 2016 6:42 AM PDT


American Fool [LP]
American Fool [LP]
Price: $22.99
40 used & new from $12.99

2 of 2 people found the following review helpful
5.0 out of 5 stars This all analogue mastering and whisper quiet vinyl pressing delivers buckets of dynamics; highly recommended, July 13, 2016
This review is from: American Fool [LP] (Vinyl)
Like most people born in the 60s and 70s in North America I'm familiar with John Mellencamp's many radio hits throughout the 80s. In today's vinyl resurgence more often than not record labels are using buzz words and catch phrases that don't mean anything, like "remastered on 180g audiophile vinyl" - this tells us diddly squat other than a) the weight of the vinyl and b) most likely pure vinyl compound.

With records today, the informed consumer needs to be aware of much more. 1) Who did the remastering? Are they known for loudness wars releases not worth of a decent hifi system? 2) Where was it pressed? Is it somewhere like MPO in France or RTI in California known for quiet, centred pressings and decent quality control, or somewhere like United in Nashville or Rainbo in California known for noisy records with very little in the way of QC? 3) What was the source material? Saying something is "audiophile vinyl" doesn't mean it wasn't cut from the original CD file. 4) Who cut the record?

I'll give you another example you see too often, "mastered from the original analog tapes". Okay, it's great you took the time to find the tapes, but that doesn't mean the tapes weren't transferred to 24/96 digital, mastered with silly amounts of brickwalling/limiting and then cut to vinyl and pressed off centred at URP who care more about volume of records pressed than how they actually sound. It's a big sham.

Thankfully with the five Mellencamp albums Mercury/UMe are releasing on vinyl in June 2016 including American Fool (reviewed here), Uh-Huh (Vinyl), Scarecrow (Vinyl), The Lonesome Jubillee (Vinyl), and Big Daddy (Vinyl), also available in a 5LP box set 1982-1989 The Vinyl Collection (5LP Vinyl), we are getting these albums on vinyl treated with the format as the primary focus.

Here is the information you are looking for, from the press release: "Los Angeles – May 11, 2016 – Five John Mellencamp albums have been scheduled for reissue on 180-gram vinyl LPs on June 10 by Mercury/UMe. New lacquers forAmerican Fool, Uh-Huh, Scarecrow, The Lonesome Jubilee, and Big Daddy were cut from their original analog master tapes by Chris Bellman at Bernie Grundman Mastering, with the vinyl LPs manufactured by Record Industry."

CUT FROM! There are the key words missing when all you read is "mastered from". Cut by whom? Chris Bellman, well known for being a vinyl wizard but also having the ability to cut vinyl in an all analogue chain. Pressed where? Record Industry in the Netherlands, who consistently do an excellent job for the specialty European label "Music on Vinyl" for both black and a variety of coloured compounds.

So...how does it sound? I suggest you turn your system up and get ready for dynamically intact, all analogue goodness. American Fool sounds absolutely fantastic. Great production (without it you're pooched no matter what format you release on), excellent vinyl compound, perfectly centred, cut nice and loud so it has a low noise floor thanks to the sub-20 mins/side running time, I've never heard American Fool sound so good. The thunderous guitar strikes in Jack & Diane just beg you to turn it up even louder, and as long as your system can cope...it sounds better and better.

I'm kicking myself for not jumping on the boxset when Amazon Canada first listed it at $103, but I'm very, very happy with American Fool and if you enjoy this album and have a resolving system then I confidently recommend it to you.


Thick As Thieves [LP]
Thick As Thieves [LP]
Price: $16.99
21 used & new from $12.99

9 of 19 people found the following review helpful
2.0 out of 5 stars The Loudness Wars claim another victim, June 21, 2016
This review is from: Thick As Thieves [LP] (Vinyl)
When The Temper Trap released Conditions in 2009 it was a collection of well crafted, catchy tunes riding on the strength of Sweet Disposition, but it was heavily compressed and far too loud. Fast forward to the 2012 sophomore effort and the mastering was a little bit more relaxed, not much but at least made it seem as though the sonics were heading in the right direction.

In 2016 The Temper Trap take a huge step backward with the mastering and release an album that has been horribly decimated of dynamics in the mastering stage. If you are unfamiliar with the term, it's when you foolishly try to make your record sound louder (often recommended by record label execs in suits who are absolutely clueless to the detrimental effects on the music) than others so it stands out. There are a few caveats, first digital music has a 0dB peak which you cannot go louder than, so you either have clipping or your have to brickwall to avoid clipping. You can make the quiet parts louder, but the loud parts have a reduced effect as they cannot go past a certain limit. When you reduce the volume between the quiet and loud parts you're left with music that is devoid of impact, the physiological response you get with fully dynamic music is completely ruined.

The vinyl sounds to me like it used the same horrendous mastering, it's flat and has very little dynamics even though the running times per side aren't too bad (which probably kept the cost down although ideally this would have been a 2LP set cut at less than 18 mins/side or maybe a 2LP 45rpm set) - still if you're using hyper-compressed loudness wars mastering, what would be the point in making vinyl production decisions designed to enhance the audio experience? Garbage in Garbage out.

Most frustrating about all this, is The Temper Trap continue to come up with REALLY GOOD SONGS! Were this album gash, the unfriendly dynamics would be much easier to swallow. If you're listening on the go with cheap in ear buds or in the background on a fairly cheap microsystem at home (or you know, via a phone dock or similar device that isn't there to give realistic sound) you won't really notice this effect. But those who have decent hifi setups who are familiar with the experience of listening to well-mastered music that was also well-produced, will be sorely let down by this third album.

To date the only Temper Trap release with a fair amount of dynamics intact is the enjoyable 2006 EP with standout tracks Sunday Painter and Peter Parker's Alter Ego.

For me this will be one I'll listen to in the car on my crappy factory car system; with the ambient sounds of traffic and concentrating on driving vs. critical listening at home, the lack of dynamics is less jarring.

For those familiar with the band's output, this one sounds like a good continuation of the second album. Burn is a wicked track that's been played live for a few years, the first single Fall Together is very catchy and from first listen my early faves include Lost, Summer's Almost Gone and Tombstone.


Uprising [LP]
Uprising [LP]
Offered by Macy's Sales
Price: $22.99
49 used & new from $3.37

3 of 5 people found the following review helpful
3.0 out of 5 stars I'd recommend looking elsewhere for Bob on vinyl, December 3, 2015
This review is from: Uprising [LP] (Vinyl)
I was excited to hear Universal bringing out the box sets of the Island studio albums from Bob, then I saw the pricing on the sets and I scratched my head...perhaps these were going to be 4LP 45RPM Clarity versions cut all analogue from the original stereo master tapes by Bernie Grundman and pressed at QRP? Nope, regular 33rpm editions, costing several hundred dollars with no pressing info, not cutting or mastering credits and no source information made available.

Eventually, likely at the prodding of guys who understand why this info is important (referring specifically to Paul from the Super Deluxe Edition website), we discovered these were going to be cut from 24/96 files based on the original masters. That's still not very much info, but it was enough for me to order Uprising to check it out.

What am I comparing to? I have the Barry Diament-mastered CD which is excellent, I have the Songs of Freedom mastering of some of the cuts, Legend original mastering, Legend 30th Anniversary edition remaster, original Jamaican Tuff Gong pressing and my go to pressing...the all analogue box set from 1982 entitled "The Box Set".

Look, let's cut to the chase, if you're patient and put a notification on Discogs for when someone lists it or scour eBay once a week, you'll find a listing for the box set. Wait for one that's NM or Mint. There is the tiniest little bit of blown sibilance on this pressing but the positives far outweigh this one negative, it delivers otherwise an experience hard to put into words, absolutely incredible, visceral, it's the Dan Gorgon of Uprising releases. The presence of the recording when the rhythm section comes kicking in on Coming in From the Cold is massive with deep, tight bass and kick drum, as you close your eyes you're transported to Tuff Gong Studios as 35 years disappear in a hi-hat hit and you hear what they heard so clearly. This is the real power of music, they kind you don't get with today's utterly awful and dynamically-lifeless masterings, the kind you don't get on the new remastered stereo version of Legend which is also way to loud and takes away the life of the music.

So what about the UMe pressings? They're not bad, but they're not good in the way that the new Zeppelin remasters are an okay substitute for the all analogue Classic Records pressings if you don't have US$200/album to spend...because the box set from '82 will only set you back between $160 to $220 if you're careful and is a far better choice. You'll discover that the weight of the vinyl has nothing to do with the sound quality as these lightweight possibly 120g pressings demonstrate their superiority to the new 180g digitally-sourced pressings. My copy was not flat and was quite noisy. The mastering itself wasn't bad and I was able to enjoy listening to it, but it sounded noticeably less alive and inviting than the box set '82 copy.

To the credit of UMe they did a tremendous job with the 5.1 mix of Legend found on that 2014 30th Anniversary Blu-ray and i"ve reviewed that one as five stars, Bob Clearmountain should do the entire catalogue, but they have not serviced Bob's output for vinyl with the care it deserved.

I am listening to my records on the following equipment:

Turntable - Goldring GR-2 (Goldring 1012GX cart)
Phono preamp - Parasound Zphono
Speakers - Acoustic Energy Aelite 3
Amp - Onkyo TX-NR3010
Cables - Ultralink Excelsior 2.4

Noisy records are cleaned with a GEM Dandy.
Comment Comments (2) | Permalink | Most recent comment: Aug 25, 2016 5:54 AM PDT


Communique: Limited
Communique: Limited
Price: $48.88
44 used & new from $40.06

4 of 5 people found the following review helpful
5.0 out of 5 stars SACD only, why would you think they'd play in a Blu-ray player?, October 16, 2015
This review is from: Communique: Limited (Audio CD)
THIS IS A SUPER AUDIO CD. It will ONLY play in a Super Audio CD player. It is not a hybrid SACD therefore does not contain a CD layer. If you are not sure if your CD or DVD or Blu-ray player is compatible with Super Audio CDs then for God's sake, READ YOUR OWNER'S MANUAL BEFORE YOU BUY. It's ludicrous to rate a product 1-star because YOU are an uninformed consumer. Rant over.

Communique is Dire Straits most underrated album, possibly the best recorded and thus this DSD transfer direct from the original UK master tape is nothing short of stunning. The only version of Communique I've heard better this SACD is the all analogue vinyl WB released in 2009 cut by Bernie Grundman.

Impeccably recorded drums, take a listen to how visceral the outro of "News" is. Got expensive speakers but find many of today's recordings sound like crap due to overzealous dynamic range compression (the loudness wars)? If you don't play vinyl, pick up this SACD and realize the true potential of your hifi system. No amount of superlatives can accurately describe how great this disc sounds, it's an absolute reference recording.

The first four SACDs from Universal Japan, all analogue > DSD transfers, are all worth owning if SACD is your preferred format. Love Over Gold, Making Movies and the self-titled debut are chock full of terrific tunes and can be listened to from start to finish. The new lower pricing of these SHM-SACDs makes them far more affordable to Canadian buyers than the previous CDN$65 it cost when they were first released.

I'd also highly recommend the two Mike Oldfield SHM-SACD releases they've done, Tubular Bells and Ommadawn.


Berkey SG-10 Glass Water Level Spigot for Imperial and Royal Systems
Berkey SG-10 Glass Water Level Spigot for Imperial and Royal Systems
Offered by The Berkey Guy - LPC Survival
Price: $34.95
7 used & new from $34.95

1 of 1 people found the following review helpful
5.0 out of 5 stars Greatly improved flow and nice aesthetic, September 1, 2015
Verified Purchase(What's this?)
The Berkey glass level spigot is very easy to install. I left a glass under the spigot on top of my trash can (the Berkey on the edge of the counter) the first time I filled it and it was bone dry the next morning. The instructions for installation were easy to follow and I took the time to give my Royal Berkey a cleaning while I had it opened up as well.

There are two changes I've noticed the most with this spigot, #1 it is a little wider than the default one and doesn't fit so well into the Ikea glass litre bottles I fill to keep cold water in the fridge (the ones with the rubber stopped like a bottle of Grolsch). #2 perhaps because of this, it pours much faster and I've found you get higher flow much lower to empty than the previous spigot. This is a big bonus, filling up kettles, saucepans, coffee pots, bottles for drinking water, it is so much faster now.

The water level varies in accuracy but really it's there to let you know when it's getting low, not whether it's 3/4 full or 7/8 full, so for this purpose it delivers in spades.

I'm very happy with the glass spigot, primarily for the increased flow of water. The spigot seems well built and sturdy. To be honest most of the time I still fill up my Berkey once the flow is greatly reduced so that means it's almost empty. Sometimes I check the level to know when to fill it, but that being the primary reason I bought it I can't say I'm using that function of it very often. Still, the increased flow and to a far lesser extent the better aesthetic make this a 5-star easily recommendable purchase.


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