Jump to content

Recommended Posts

  • 2 weeks later...

spacer.pngVery impressive.

And they have raised the bar challenging them selves and the musicians with excellent results;


"Each recording starts and ends with the main artist alone in the hall, the only interplay being the acoustics of the hall and his own mind. No audience is present except the ghosts from the past.
When the band enters the music must create an Arch, going from the single instrument performance to the more complex band performance and back to the last solo performance.
The same principle goes for the engineering; each recording starts out with only one microphone (stereo) microphone. As the music gains in complexity more microphones may be deployed, the only limit being the imagination and technical skills of the recording engineer. The producer and engineer must make the album feel as one, it should have a unifying 'sound', despite the different recording techniques employed. 

 

Frans always says; "the art of recording is a question of listening and the more you listen the better you get at it."
I was curious to see how all the completely phase coherent listening Frans had been doing creating the masters of the ‘One Mic’ and ‘One Mic+’ series would affect his decisions when giving him almost free rein with a multi mic setup. I was not disappointed. His great knowledge of mic placement and phase manipulation seemed to have grown even further.
Frans has a second life as engineer and sound scape specialist for radio plays. He has received several awards for his work, the prestigious Prix Europe 2020 being the latest.
I believe that his unique ability to make the sound of the instruments real and visual is a cross-pollination from his excellent work with Radio plays.
For each piece of music we would ask the band to play it through once and there after deploy the microphones needed. Oftentimes the musicians on hearing the playback would suggest small alterations in the music to make the music fit the sound.

We were trying to create a sound that would fit the music and the musicians got inspired by the sound to develop the music even further.
The circle was complete."  quote taken from; https://www.soundliaison.com/index.php/814-ebb-tide-gidon-nunes-vaz-quartet

Link to comment
On 8/5/2017 at 4:22 PM, tailspn said:

...

 

DXD is however as you state the primary post processing format for high definition DSD recordings and delivery media,  with alternative pure DSD processing some time in the not too distant future.

 

Tom

 

Zuill Bailey's new release of the Bach Cello Suites appears to be the latter.  I haven't listened to all of them yet, but No. 1 is very nice.

 

Octave Records Releases The Complete Bach Cello Suites by Zuill Bailey – PS Audio

 

and a more personalized review:

 

Zuill Bailey's 'The Complete Bach Cello Suites' released (elpasoheraldpost.com)

Link to comment
On 10/29/2021 at 11:32 PM, Darryl R said:

 

Zuill Bailey's new release of the Bach Cello Suites appears to be the latter.  I haven't listened to all of them yet, but No. 1 is very nice.

 

Octave Records Releases The Complete Bach Cello Suites by Zuill Bailey – PS Audio

 

and a more personalized review:

 

Zuill Bailey's 'The Complete Bach Cello Suites' released (elpasoheraldpost.com)

Did you get the downloads bundle, 16/44.1 up to DSD64?

I'm curious about the difference in SQ between them as the version on Tidal sounds a bit mushy.

Link to comment
On 10/20/2020 at 9:46 PM, oso said:

spacer.png 

I have bought the CD from Carmen at her;

                                 BandCamp site

and can report that it is amazing. It is a kind of a  Blues Suite in the sense that every piece of music is connected and the SQ is S.L quality. A very fine album.

 

 

 

The DXD version of Up Jumped The Devil

got a very fine review in the Hifi news and Records magazine;

 

Quote

Carmen Gomes Inc
Up Jumped The Devil (DSD64/128/256/512; DXD)*
www.nativedsd.com; Sound Liaison SL1043A

Just when you thought you'd heard every possible take on the songbook of Robert Johnson, from true acoustic versions to Clapton's electric tracks, up jumps singer Carmen Gomes with her own rendition. The legendary bluesman died aged just 27 in 1938, amidst all those 'sold his soul to the devil' legends, and left a catalogue of just 29 songs, so you could argue there's nothing new to hear. However, Gomes gives her selected tracks an atmospheric, mystical spin, with minimal backing, a simple mic set-up, in Sound Liaison style, and a 'straight to DXD' as-live recording approach. Her sultry voice has immediacy and intimacy, the instruments captured with real vitality, and the whole recording drips with presence and a sense of performance. I can imagine this one proving popular on the demo circuit if we ever get back to them – and that would be no bad thing. AE

 

Link to comment

Folder.jpg.68bdcb4e2909748ea74caed313f659ea.jpg

 

I posted this on the "Album of the Evening" when it was released a few weeks ago, and I can't think of a release I've enjoyed more this year.  I was always partial to No. 4, but the MacMillan was a very pleasant surprise.  So nice to hear a new modern orchestral work that is melodic and beautiful.  I think it's up there with the Barber Adagio (but with a gorgeous dash of brass).

Link to comment
On 11/10/2021 at 10:04 PM, JoeWhip said:

Another great sounding recording, recorded in DXD. 
 

image.jpeg.c701c57d47dc03f25d0c1db3d7ab520a.jpeg

 I agree. A fine album with and interesting concept;

Quote

The Arch Manifesto

Each recording starts and ends with the main artist alone in the hall, the only interplay being the acoustics of the hall and his own mind. No audience is present except the ghosts from the past.
When the band enters the music must create an Arch, going from the single instrument performance to the more complex band performance and back to the last solo performance.
The same principle goes for the engineering; each recording starts out with only one microphone (stereo) microphone. As the music gains in complexity more microphones may be deployed, the only limit being the imagination and technical skills of the recording engineer. The producer and engineer must make the album feel as one, it should have a unifying 'sound', despite the different recording techniques employed. 

and as always very interesting liner notes on the process of recording the album; Full liner notes DON'T EXPLAIN

Link to comment
  • 5 weeks later...
  • 3 weeks later...

Hi

 

Rookie question here - 

 

If an album is offered both in DXD 352 kHz and FLAC 352 kHz, such as “Up Jumped the Devil”

 

https://www.soundliaison.com/index.php/677-up-jumped-the-devil-carmen-gomes-inc

 

is the FLAC version just a lossless compressed version of the DXD file?
 

Is there any difference in possible audio quality, metadata, or other factor, or is it simply a matter of space on a hard drive?

 

If there is no difference, would the FLAC be more practical to save space or is there some other reason I should purchase a DXD file?
 

Thanks

Link to comment

Talking about impressive;

spacer.pngCarmen Gomes Inc. RAY!

All the Sound Liaison albums seems have a story or a philosophy to them. That's the music as well as the technical aspects. These guys are really into what they are making, true connoisseurs of music.

Quote

"The 2 most important engineers in Ray Charles' oeuvre were Tom Dowd and his protégé Al Schmitt. The story goes that before Ray Charles, Tom Dowd and Al Schmitt started working together, tape recording levels were kept safely way below the limit. But Charles, Dowd and Schmitt realized that by carefully getting close to the limit, a beautiful light colorization of the upper harmonics took place. In tribute to the 2 engineers I decided to use an analog signal chain to master the DXD recording to a Studer A80 reel to reel tape recorder in order to get that little bit of "tape saturation" that Ray Charles liked so much, keeping in mind Tom’s and Al’s love for minimalistic equalization and very little compression. The various reverb techniques used on the album were inspired by Al Schmitt's work. I have added a bit of depth to the beautiful natural ambience captured in the hall by carefully chaining reverb units at minimal settings. This technique helped the sound of the album become more coherent despite the different recording techniques applied, following the rules of the Arch Manifesto".

Frans de Rond

 

 

 

Link to comment

Just browsed some NativeDSD recordings of the year and this was the winner in solo piano. While I am no expert in piano sonics, I will admit with BMoura that this recording is possibly the best I have ever heard a piano, and his playing is spectacular. And I didn't even download it on DSD, I just listened to it via Tidal/Roon. 

 

But happy I didn't purchase it, as I will probably never listen to it again. Not my style of music, as it is a little too relaxing. 

Screen Shot 2021-12-31 at 8.49.39 PM.png

Roon/Squeeze>Cisco2960>optical>EtherRegen>Audio Sensibility Supra>Antipodes K50>JormaAES>WeissDAC501>Acoustic Zen Silver ref II>Marchand XM44>Acoustic Zen Absolute>Apollon NCx / Acoustic Zen Matrix II>VTV NC500>modified Magnepan 3.6R: Zavfino Silver Dart power cords, Solid tech reference rack of silence with feet of silence, PSM156 power conditioner/ultimate PC, Plixir BDC power supply, Audio Sensibility DC, Gaia II, Primacoustics absorption and DIY diffuser room treatments

Link to comment
On 12/31/2021 at 3:38 PM, PAP said:

Talking about impressive;

spacer.pngCarmen Gomes Inc. RAY!

All the Sound Liaison albums seems have a story or a philosophy to them. That's the music as well as the technical aspects. These guys are really into what they are making, true connoisseurs of music.

 

 

Now there is a 24/768kHz  version as well;

Quote
Ray! in 768kHz  Ray! - PCM 768kHz! - 24bit - FREE TRACK
 
The RME company is highly regarded by audio professionals.
Before we started working with Merging, RME was our converter of choice. So when we got offered to test the RME ADI-2 FS, a compact 2-channel AD/DA converter we gladly approved.
 
The first comparison with our Merging Anubis was immediately positive. Lots of definition, a beautiful soundstage with perfect placement. And after powering it with the Ferrum Hypsos external power supply, a sense of calm and control was added to the experience. This is clearly a serious converter.
 
The RME has a maximum sample rate of 768kHz. To really see what the RME ADI-2 is capable off, we created a 768kHz/24bit file straight from our Studer A80 tape recorder playing the ¼" reel to reel master tape from our latest release. 
Listening and A/B comparing with the Studer the result is quite convincing. In our opinion the sound is very close to the analog master tape.
 
We would like to share the results with you.
Therefore we have made one 768kHz track from the album available for free for a limited time period. 
The only favor we ask in return, is that you give us a bit of feedback; Is this a way forward?
Do you also hear an even greater sense of realism compared to the lower formats or are you perfectly happy with the formats you have been using so far?
 
For anyone who would like to purchase the entire album in 768kHz but has already purchased the album in a lower resolution in the past week, the price difference will be refunded. Send us an email and you will receive a refund within a few days.

 

Link to comment

Same problem here but I am curious as to what the result is of your friends listening test.

Sound Liaison says in the news letter;

Quote

Listening and A/B comparing with the Studer the result is quite convincing. In our opinion the sound is very close to the analog master tape.

 

Link to comment

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now



×
×
  • Create New...