There are 2 SACD versions of this recording; have you heard those?
No, and after reading that most Esoteric SACDs derive from remastered RBCDs despite their claims to use the analog masters, I have no desire to hear them!
There are 2 SACD versions of this recording; have you heard those?
Can you tell me what is meant by "analog multi-pass output?"Hybrid - Multichannel 5.1 SACD layer (analog multi-pass output)
Can you tell me what is meant by "analog multi-pass output?"
OK but they pass this way but once.It's my own way to say "multi-channel". ...'Passing' the 5.1 analog audio signal out.
The Rzewski today. Wow, Levit plays this viciously demanding piece even more compellingly than does Marc-Andre Hamelin. Better sound, too.
Just finished first listening session of the ''Enghave Barok'' a top Scandinavian chamber ensemble with a fresh look at the Bach Sinfonia and Cantatas. Superbly played and recorded and at an introduction price of 10€, this download is highly recommended. http://www.soundliaison.com/studio-masters/253-bach-live-edition-1
i was amazed by the few snips on the website. I am a 16/44 guy and Zanden 4-box digital at that. I have emailed Sound Liaisons to ask if there is a way to download 16/44 from them...at least we get the music this way. I can burn it and play old-skool on the Transport.
I have just begun downloading it...and Sound Liaison has kindly offered to downscale it to 16/44.1 for me so that i can burn it for the Zanden. Look forward to hearing it.
But it still sounds like a Sound Liaison recording, intimate, yet spacious.Here is Torsten Jessen’s description ;
“The recording was made with a main pair of matched DPA microphones in an A/B configuration. Our DPA mics have a completely identical frequency response, securing a very stable and well defined stereo image. We had spot microphones on each one of the musicians. The distance of the spot microphones were meticulously measured in relationship to the main pair and the distance was then compensated for in the mix. We always use a great deal of time perfecting the phase between the spot microphones and the main pair in order to secure a completely focused stereo recording that clearly implement the depths of the acoustics of the church and vividly portrays each instruments placement in the stereo field.”