PlayClassics master file giveaway for CA members

[Mario Martinez]

We will be happy to send a Gift Code to all CA members who would be willing to try the Truthful Recording Technology sound on their systems.

 

Just send us a PM with the album of your choice and we will send you a Gift Code to download the full dynamic range 24bit 96kHz Truthful Master.

 

All we want in exchange is to get as much feedback as possible. It would be great if we could get your testimonials to include them on our web page.

 

PlayClassics, the art of true music

[Tony Lauck]

Today I downloaded the 96/24 master file of pianist Luis Grané's recording of Iberia by Albéniz. The download went quick (at the full speed of my DSL line). After unizipping the FLAC files I played them using HQPlayer on my Windows computer, a Mytek 192-DSD DAC and a pair of powered Focal Twin 6 near field studio monitors with a Sub 6 subwoofer.

 

I had no problem adjusting my volume so that the piano sounded natural at realistic concert level volumes on my Focal studio monitors. At this point, I began to appreciate just how superb an artist Luis Grané was. Every detail of musical phrasing, pedaling, and selection of piano tone was in perfect service to the music. The loud portions were brilliant, without any harshness. (I'm intimately familiar with the sounds of live pianos, having lived with a pianist for forty years and before this studied piano myself for a number of years.)

 

In summary, I don't believe I've heard a better recording of a piano.

[Mario Martinez]

Thank you so much Tony for your generous testimonial. I really appreciate it. We will sure be using this on our web page. This is really helpful for us. Thanks!

[Doak]

What a great offer!

 

I perused the Playclassics site PlayClassics, the art of true music, listened to samples and too was taken by Luis Grané's recording of Iberia by Albéniz. I have contacted Mr. Martinez.

 

Looking forward to hearing this on my system.

[AudioDoctor]

A great offer of a great recording! I chose to listen to Enrique Bernaldo de Quirós Debussy Preludes. What a great recording, perhaps the best piano recording I have ever heard. I really liked how all the subtle nuances were not lost in the loud sections, and how the quiet passages were so delicate and rich. Lovely, beautiful music.

 

Thank you for the opportunity.

[Mario Martinez]

Thank you for your words and for taking the time to listen, it really means a lot to us.

[Mario Martinez]

I have been asked about how we are doing this. Here is the explanation from Musicstry Studios, discover the Truthful Recording Technology

 

All our recordings are made using the Truthful Recording Technology developed in our studios. For the first time in recording history, the use of this technology guarantees the integrity of the sound and the interpretation of the artist. At the same time this technology places the listener on the same spot of our auditorium for every recording giving him total control over everything he listens to.

 

Artists spend their whole live working on their technique to produce variations in the sound of their instrument that may seem imperceptible but have a great impact on the musical message. Therefore, in order not to alter this message, it is essential that recordings preserve this sound intact.

 

 

Music is communication.

 

It is communication between the artist and the listener. The more obstacles there are between the artist and the listener the more the message will deform and the worse the communication will be.

 

The only factor that stands between the artist and the listener in a concert situation is the effect the hall produces on the sound of the instrument. But this effect occurs in real time and it is perceived by both parties allowing the artist to maintain control of the communication. A concert situation is therefore a favorable situation to produce music.

 

 

In the case of a commercial recording there are several factors that hinder communication.

 

When recording, what the artist hears and controls is the effect the hall produces on the sound of the instrument, that is the sound he works with to communicate with whoever is listening, but this sound gets lost in space without reaching anybody's ears. What is picked up while the artist is playing is the sound registered by the microphones deliberately placed close to the instrument precisely to avoid picking up the sound of the hall. The color, balance and dynamic range of this two sounds (the one from the hall and the one from the take) are totally different, so while the artist delivers his controlled message, we pick up a different one that the artist does not control. In this first step the artist loses control with respect to the sound.

 

The takes to be used for the assembly of the work are chosen during editing. Normally the artist is not involved in the editing process. The decision about which takes will be chosen rests in the hands of others. But, how can you keep the integrity of the artist's message if the words are chosen by another person? In this second step the artist loses control with respect to the interpretation.

 

In most cases multiple microphones are used to record each instrument. During the mixing process the sound of these microphones is combined to create a stereo sound. This process can not recreate the balance and image that the artists produced while making the recording. Besides the artists were not aware of the effect this process was going to have so it would have been impossible for them to try to adapt to it. In this third step the artists lose control with respect to the balance and image between instruments.

 

All these losses of control represent a significant deterioration in the integrity of the message that reaches the listener, so we can say that commercial recording is an adverse situation to produce music.

 

 

The Truthful Recording Technology eliminates these barriers providing direct communication.

 

In our studios the recording hall is configured so that the sound of the hall is exactly the same as the sound of the take. Also during recording when the artist is listening to his takes what he hears is the same sound the listener will hear allowing the artist to adapt maintaining full control of the sound aspect of the communication.

 

So far this situation is just as favorable to produce music as the concert situation. But furthermore, during the editing process, the artist is the only one responsible for choosing the takes and his judgment prevails over any other giving him total control over the interpretation too with what we are able to improve the concert situation where there is no possibility to repeat a passage to improve the message.

 

In addition, all recordings are made in exactly the same conditions. It's like listening to all these artists from the same chair of the same auditorium. This allows the listener to establish objective comparisons on the ability of artists based on the result of the different recordings.

 

The Truthful Recording Technology developed in our studios guarantees the integrity of the sound and the interpretation of the artist while giving the listener total control over everything he listens to. Therefore we can say that recording with this technology provides the ideal situation to produce true music.

[/Quote]

[bkinbk]

Thanks for the download, man. I'm really enjoying Iberia as well. I just posted it as my 'album of the evening' in the Album of the Evening thread. Good luck with this venture!

[Mario Martinez]

Thanks, I just saw that

[Mario Martinez]

May be we can make this more dynamic...

 

The OP said "Just send us a PM with the album of your choice" but if you send us a PM then other people cannot see what is going on.

 

Wouldn't it be better to post your choices directly on the thread so everybody can see what everybody else is getting? I would still be sending you the codes on a PM.

 

Please go ahead and pick your album: so far we have given out 35 codes. 16 for Albéniz Iberia. 9 for Cabrera plays Debussy. 7 for Debussy Préludes. 2 for Chopin Polish Songs and 1 for Songs of Paolo Tosti.

[jhwalker]

May be we can make this more dynamic...

 

The OP said "Just send us a PM with the album of your choice" but if you send us a PM then other people cannot see what is going on.

 

Wouldn't it be better to post your choices directly on the thread so everybody can see what everybody else is getting? I would still be sending you the codes on a PM.

 

Please go ahead and pick your album: so far we have given out 35 codes. 16 for Albéniz Iberia. 9 for Cabrera plays Debussy. 7 for Debussy Préludes. 2 for Chopin Polish Songs and 1 for Songs of Paolo Tosti.

 

OK, I'll bite - "Iberia" for me, too. Thanks!

[Mario Martinez]

Thanks John, I just sent you the code, hope you like it...

[Odissyus]

May be we can make this more dynamic...

 

The OP said "Just send us a PM with the album of your choice" but if you send us a PM then other people cannot see what is going on.

 

Wouldn't it be better to post your choices directly on the thread so everybody can see what everybody else is getting? I would still be sending you the codes on a PM.

 

Please go ahead and pick your album: so far we have given out 35 codes. 16 for Albéniz Iberia. 9 for Cabrera plays Debussy. 7 for Debussy Préludes. 2 for Chopin Polish Songs and 1 for Songs of Paolo Tosti.

 

Chopin Polish Songs for me, please.

 

Thanks

Odysseus

[audio.bill]

Thanks for your generous offer, Mario. Your recording samples and user feedback are excellent, so I'd also like to try "Iberia" please.

[esldude]

Thanks for this very nice offer.

 

I would like to try Cabrera plays Debussy.

[baddog]

Thanks for the offer, I would like to try:

 

Luis Grané's recording of Iberia by Albéniz

 

 

[JHG]

Thanks for the offer, I would like to try:

 

Luis Grané's recording of Iberia by Albéniz

 

 

Same for me thank you.

[Mario Martinez]

ok, I just sent them all!! enjoy

[firedog]

I downloaded the Iberia.

 

Haven't even listened to the whole album yet, but it is obvious it is a very good recording. A very natural piano sound, and doesn't have the sharp edge and unnatural reverb that many modern piano recordings have.

 

Definitely plays back with the perspective that you are listening to the artist from the audience - and not from inside the lid of the piano. I like that.

[Octagon]

Hi Mario,

 

thank you you for the kind offer. I would like to have a listen to Iberia, the feedback so far sounds pretty well about your recording and the technology behind it.

 

Best regards

Thomas

[Russell_L]

I've love to listen to "Cabrera plays Debussy", which has some of my favorite piano music.

 

Thanks, Mario!

 

Russell

[mourip]

Me too please.

 

I would like to try Luis Grané's recording of Iberia by Albéniz as he is one of my favorite composers.

 

Thanks!

[odelay]

A most generous offer Mario!

Far be it from me to turn that down.

 

Given the glowing testimonials, could you send me a code for IBERIA too?

 

Thank you,

Luke ?

[mabe]

Thanks for the offer, I would like to try:

 

Luis Grané's recording of Iberia by Albéniz.

 

Best regards,

 

Manfred

[hdls]

Thanks a lot for the offer - I would be delighted to try the Polish songs.

Chris