Study Op.6/9: An extra track from the album "Sor: Guitar Sonatas". From Fernando Sor's famous 12 Studies Op.6, published in London under the title "Studio for the Spanish Guitar" in about 1815/1817, this fantastic piece is Sor's first study in a minor key, and is intended to improve the execution of sixths.
Exercise Op.35/22: An extra track from the album "Sor: Guitar Sonatas". From Fernando Sor's 24 Very Easy Exercises Op.35, this is one Sor's most famous pieces, a legato exercise based on a melody over an arpeggio accompaniment.
Gonzalo Noqué, Eudora producer and owner states:
"Our recordings are being quite "simple" regarding microphone techniques: solo instruments (solo guitar, solo viola, solo piano), and small settings (guitar duo), which require few microphones. We've been lucky enough to find some places (churches and halls) were we have plenty of time, and we've spent a fair amount of time before recording. We even had the luxury to have a room to be able to bring and use a surround monitoring system on location, with 5 Neumann KH120A monitors, finding the sound we want, and adjusting levels in advance. We used a minimalist one mic-one track; two for stereo, and five for the surround. Sometimes the L-R from the surround could be used for the stereo version as they are, and there has been no level adjustment at all during post."
The DSD 256fs stereo and multi-channel files offered are the session masters, with just fade in and outs added. The remaining DSD 128fs and 64fs files are Pyramix DSD Converter subsampled, exactly as they are processed for SACD 64fs and download 128fs file mastering preparation. No post processing sweetening or format conversions are employed.
Further information can be obtained from the Fernando Sor: Guitar Sonatas album booklet here at the Eudura label page. Gonzalo Noqué - Eudora Records
Three out of the five truly incredible musicians were already familiar with my minimal two microphone recording techniques as we had worked together on previous Sera una Noche recordings produced (with wine of course) in a little church in the Argentine countryside. The big difference on NAMA is the sound of the space and since there was NO SOUND, what we got was something very pure, immediate and "right in front of you" So, while the first Sera una Noche recordings have a certain sonic magic, NAMA possesses a vivid reality all its own.
Just to remind the listener(s), the 5.6 MHz version of NAMA is an unedited, two omnidirectional microphone recording and what is most amazing to me is how I was able to capture Edgardo Cardozo's voice and guitar with such clarity. I am really thankful that he and the other musicians are so understanding and appreciative of the way I work. We were all super happy with the results and of course, I hope you are as well. Todd Garfinkle - M-A Recordings www.marecordings.com
I first met Mathias Landæus during a trip to Stockholm sometime around the end of the previous millennium when I had gone to Sweden to see what interest I could find there for MA. I was aware of Mathias` work beforehand, having been involved in music distribution while living in Japan. At that time, I had come in contact with Amigo Records, the well known Swedish jazz and world music label that, to this day, distributes ECM in Sweden. Amigo put out Mathias?first two recordings, "Blåbete" and "Darling" both of which were quite well accepted among Japanese jazz fans. In fact the Swedish scene in general is quite enthusiastically followed by Japanese jazz freaks and I would say, maybe more than in Sweden or any other country, except perhaps Germany.
At the time of this writing, as we approach the end of the first decade of the present millennium, despite the ever declining worldwide interest in Jazz, the Swedish scene is very much alive, partially because of the valiant efforts of the Moserobie jazz label, independently run by saxophonist, Jonas Kullhammar. Moserobie puts out self produced recordings by Sweden`s top jazz artists and in turn takes a distribution margin. Mathias has put out three CDs thru Moserobie, all of which can be found in Swedish shops through the fulfillment efforts of the Bonnier-Amigo publishing company. Moserobie also exports and has always had a great following in Japan being fervently imported by Disc Union. On the net, go to www.moserobie.com for more information.
His first recordings on Amigo, along with his very simple and beautiful cover illustrations, always left a very favorable impression on me and I would say, many others in Japan. His approach was then and now, personal and sensitive. Our discussions focused on whom to do the project with, location, etc and after some deliberation, ended up with what could be called a Swedish Super Trio including the Swedish Papa of Jazz Bass (and one of the top players in the world) Palle Danielsson, whose continuous work on ECM commenced in the 70s. In case some of you are not aware of Palle, he is probably most famous for his work with Keith Jarrett, being a member of Jarrett`s extremely popular European Quartet which also involved Jon Christensen on drums and sax player Jan Garbarek, both from Norway.
Mathias and I decided thru emails and telephone conversations, to do "Opening" in Studio 2 at the Swedish Radio station in Stockholm. I cannot over emphasize how great a decision that was. The studio is actually more like a concert hall with seats set up for live concert recordings. And, it has a great sound! And, while the place is not new, it has a warm, retro feel, making it very easy to work there. Off to one side is a simple and relaxing monitor room with B+W 801 speakers. The studio staff was accessible and more than willing to take care of our minimal needs, including my request for a platform to elevate Palle to a more strategic, sonically pleasing position, elevating him about 25 cm closer to the two MA Custom made, omni-directional, DC powered, line level mikes. The Hamburg Concert Grand Piano was in extremely good condition, tuned and ready for Mathias when he got there the first morning of the two day sessions. I arrived that same morning from Los Angeles and went directly to the Radio Station with no time to worry about jetlag or other bothersome issues. Todd Garfinkle - M-A Recordings www.marecordings.com
The Track 5 DSD 2 channel 64fs file presented here is the actual unedited/unprocessed session take from the 2 channel analog session mix using the Grimm 64fs AD converter. The multiple DSD 128fs and 256fs 2 channel files are up converted with the Merging - Pyramix DSD Converter. The Track 6 DSD 128fs and 256fs files were up converted using Jussi Laako's HQPlayer fifth order conversion modulators. There can be compared to the like ratio Pyramix converters of Track 5 for sound quality differences. The Track 6 DXD file was converted from the DSD 64fs master in Pyramix, in exactly the same mastering operation performed using Pyramix for DXD based mixing operations, if and when required by a label. All Channel Classics label recordings use an analog session mix and balance to produce the stereo mix. The majority of these recordings require no additional DXD mixing operations, or level adjustments, and remain DSD throughout the editing process.
The DSD 64fs multi-channel file is in keeping with the normal Channel Classics' mastering process of using the 2 channel analog mixed tracks for the Front left and Front Right channels, adding the orchestra center position mic as the Center Channel, and adding the rear left and right ambiance microphones as Surround left and Surround Right channels.
These session recording clips are offered to provide a best effort tool set for making listening comparisons of the effects of different DSD bit rate conversions. The results of field acoustic session recordings differ markedly from studio recordings, in that the natural ambiance and spacial information is recorded. Studio recordings, with their synthetic additions of reverb, EQ etc, have no basis in reality with respect to timing cues and low level spaciousness information, and make poor examples of objective sound quality. People have an accurate sense of correctness from a life long experience of spaciousness in a natural environment. This recording is particularly rich in spaciousness detail and instrument color. Both the inner detail and dynamic range contained in this content make these clips ideal for comparing the effects of different DSD bit rates and format conversions, from a highest sound quality DSD 64fs source. Jared Sacks - Channel Classics Records www.channelclassics.com
A Technological account of Dreams and Prayers.
We capture sound in an array of 1s and 0s, and somehow it constitutes music recording. The music on Dreams and Prayers is living, not just a sequence of 1s and 0s. Record producing and engineering is to me the process of transcending the 1s and 0s beyond the artifacts of my own meddling and immersing myself in the music as I experience it in real life.
It’s not actually possible. It’s just a philosophy--not a reality--to be strived for, but not achieved. Or so I thought…
We recorded in DSD128, 5.6MHz-1bit; a technology utterly invisible to the ear. The air and image in this recording touch the stars like I have never imagined. I am ecstatic for our results, and immensely grateful finally to see music in the hands of this technology. We have in Dreams and Prayers a warmth untouched by any old record player and clarity unlike any digital recording I have heard. We have somehow captured a place in time where A Far Cry, together with David Krakauer and these four composers—all deeply spiritual individuals—have personally and collectively connected with the spiritual realm. To carry the sound for us was a humble church in Fall River, Massachusetts with about 5 seconds of natural stone ambience, and recording that sound were a handful of DPA, Schoeps and Neumann microphones (in both stereo and binaural) followed by a blissful pre-amplification and 128DSD A/D conversion by Merging Technologies’ Horus. Mixing and mastering were also carried out using the Merging’s audio production system: Pyramix.
This full length Heiliger Dangesang, op 132 String Quartet is presented in Tracks 7 in stereo natively recorded 128fs DSD, plus 64fs DSD, and DXD. In addition, Tracks 8 uses a separate binaural head microphone pair, producing a 64fs, 128fs DSD and DXD binaural recordings.
Thank you for welcoming this beautiful music into your home. As you listen, may your ears and your heart be deeply satisified! Jesse lewis - Producer - A Far Cry
Working with NativeDSD is a pleasure, and Yarlung looks forward to releasing a series of albums in Single, Double and Quad DSD shortly. We made these first album tranfers from AGFA 468 and RMGI 468 tape to Quad DFF files using the HAPI converter and Pyramix software from Merging Technologies. Tom Caulfield (a NativeDSD legend) helped us with setup and David Robinson from PFO generously loaned us the equipment. Thanks to their help the transfers went without mishap. More albums to follow. Bob Attiyeh
Juego de Relojes, by Diego Schissi, performed by Smoke & Mirrors percussion ensemble, recorded in Zipper Hall at The Colburn School in Los Angeles Calcutta Sunrise, Badal Roy on tabla, recorded in Walt Disney Concert Hall in Los Angeles
"This an extra track from the album: “Mozart & Chopin: Dialogue”. Mozart’s famous piano Sonata K.545, was described by Mozart himself as “Eine kleine Klavier-Sonate für Anfänger” (A little clavier sonata for beginners), but as Badura-Skoda points out, “Mozart maintained the highest standards when writing for students”; despite its apparent simplicity, the result is a masterwork, full of clarity and lightness, but also depth of emotion.
This album was recorded in Barcelona, in the Hall from the Conservatori del Liceu, using Merging’s Horus preamp and converter, Sonodore and Schoeps microphones, and natively recorded in DSD256." Eudora Records
Navis Classics is proud to present new recordings of the Bach Cello Suites. This brand new release, recorded in DSD256, is the first solo album of versatile musician and cellist Joachim Eijlander. Joachim received his musical training in Utrecht, Amsterdam and Berlin. As a dedicated chamber musician he has performed alongside many ensembles and musicians including the Borodin quartet, the Bennewitz quartet, Lisa Larsson, Stefan Metz, Zuill Bailey, Nino Gvetadze and Karl Leister. Joachim is co-founder of the international Rubens Quartet. He plays on a cello by Gaetano Chiocchi (Padua 1870) with a bow by Nikolaus Kittel (St. Petersburg 1860). This Prelude from the first Cello Suite comes from the spring release that includes suite no. 1, 3 and 4. Full album to be released on May 22. Other suites to be released in winter 2015!