Audiophilepure

With the EMM, the soundstage was very clear. Mostly, the instruments were placed on each side, as was common with early stereo, but in ‘So What’, Miles’ horn came out from the right toward the center, with a remarkably three-dimensional effect. The result was spellbinding, as that solo can be. ‘Freddy Freeloader’ sounded as if it had been recorded with a different mic set up. It was still left-right, but the horns seemed more up front, with more space around them, and with a bit more warmth. The detail, again, was superb, but in the service of the music. Miles’ occasional hesitancies in his attacks, his sudden volume changes, and his other somewhat unusual expressive devices, were as – or more – clean and clear than I’ve ever heard.