Beethoven: Symphony Nos. 5 and 7 - Pittsburgh

[chrille]

Hi Chris,

 

There are two processes and schools of thought when it comes to high resolution acoustic music audio recording. One is to do a multi mic mix and balance in an analog mixing desk, and record/track that result, the other is to record/track individually all the microphones at their optimum signal to noise level, then mix and balance them in post production. When employing the latter, the currently available technology Digital Audio Workstations (DAW) only support mixing and balancing (which of course is over the full project length) in PCM. In Pyramix's case, that's 352,8KHz 24 bit (DXD)

 

The advantage of working from the inevitable DXD edited master, if the mixing and balancing in post are performed (as it is in the vast majority of multi-miced acoustic music recordings), is the conversion to other than DXD delivery products requires one less conversion remodulation. Each of the DSD delivery bit rates requires only one DXD > DSD conversion, rather than the usual DXD edit master >DSD edit master > DSD delivery bit rate chosen product.

 

Recording in DSD256, rather than DXD is largely an academic and production consideration choice with Pyramix and Hours. In either instance, the actual A/D conversion is operating at the same clock rate. The choice is where the DSD > DXD conversion is taking place; offline in post, or within the A/D converter system. The advantage of DXD recording is more microphone channels can be accommodated by Pyramix. The advantage of DSD256 recording is the original DSD session files are available for potential use if DSD mixing and balance, as well as other post requirements like EQ should become available in future DAW's. In either case of DSD or DXD recording, A DXD edited master is the first generation of any Pyramix post process mastering, when mixing and balance are performed in Post.

 

Chris, you are correct that a DSD recording mixed and balanced in analog prior to A/D conversion has only the edit crossfade intervals in DSD > DXD > DSD conversions.

 

To your question of how can lost information result in better SQ, it can't. But different formats (DSD/PCM) sound different on different DAC's. Therefore we offer the earliest generation possible of each.

Thanks a lot Tom, very clear and interesting response as usual from you.

Keep them coming both from Reference Recordings Channel Claasics and thanks to you my latest label discovery Challenge Classics their Britten War Requiem is a stunner both musically ans SQ wise imo.

I will try these files both native DXD and DSD 128 which are thw two formats my portable Hugo plays, when i am on a better wifi connection than now. Cheers from Chris at Unawatuna Beach Sri Lanka.

[Musicophile]

Just listening to the Honeck in full for the first time, via Qobuz lossless streaming.

 

SQ is excellent, and Honeck really tries to put a new spin on these works that have been recorded 1000s of times.

 

Overall well done, but at times you can hear that this is Pittsburgh playing and not Berlin, Vienna or New York (some minor imprecisions).

 

Worth getting for the sound quality, but at $40 for the master resolution I'll say thanks but no thanks.

[tailspn]

Worth getting for the sound quality, but at $40 for the master resolution I'll say thanks but no thanks.

 

Wow, that is pricey! Where are you finding that, Qubuz? The stereo DXD (the actual master resolution) is $23.35 for the stereo, and $24.28 for the multi channel at NativeDSD.

[Musicophile]

Wow, that is pricey! Where are you finding that, Qubuz? The stereo DXD (the actual master resolution) is $23.35 for the stereo, and $24.28 for the multi channel at NativeDSD.

 

Oops, mixed this up with the new MTT Mahler recording price wise.