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Mario Martinez

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About Mario Martinez

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    PlayClassics

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  1. Thank you kravi, ...as a matter of fact, thank you all for being so responsive over the past few years. Interacting with you has been a great help and very motivational too :) I feel like I owe you. Ever since the first giveaway thread you have patiently gone through all our tweaks and upgrades. I am aware of how tiresome these developing can get (I many times felt like throwing the towel myself) but you have put up with all that and accompanied us to the end of the project. Now that it is done, I really feel it was worth it but, knowing what it takes to get here, I now have a better understanding of why it is that this has never been done before. One fixed setup with one fixed calibration to fit every possible chamber arrangement seemed like a utopia. Everyone in the industry thought we would never accomplish anything solid, but after three years of work we did have something quite special (that was the first giveaway on 2015) Four years later we finished our project to empirically prove that it is not just possible but that the results excel by far the results of conventional recording methods. I do not know how far we will go from here, but I do know one thing; every classical music artist deserves to be recorded not to transform but to preserve his her sound (timbre) intact, and if our work has help achieve this final goal in the slightest way then we would do it all over again.
  2. We have used the third movement of the Beethoven Quintet for Piano and Winds to make 28 new Sound Quality Comparison demos. You can compare our sound with versions of: - Decca Sviatoslav Richter - Naxos Jeno Jando - Sony Murray Perahia - Nimbus Records Vlado Perlemuter - Erato Daniel Barenboim - Sony Rudolf Serkin - Delos Carol Rosenberger - Deutsche Grammophon Friedrich Gulda - Decca András Schiff - Warner Melos ensemble - Decca Pascal Roge - Brilliant Alfred Brendel - Warner Les Vents Français - Brilliant Klara Wurtz - RCA Peter Serkin - Sony Rudolf Serkin - Decca Vladimir Ashkenazy - Geniun Berlin Counterpoint elc... You can hear them on http://www.musicstry.com/trtsound
  3. I see... I do not know why this is happening. The pics are just links to official YouTube generated videos (they are not my videos) I just tried and I can open all of them here. You could try these direct links see if they work that might give us a clue as to what is going on: https://youtu.be/wbS49ggB5uI https://youtu.be/cgF6CWLF4Rk https://youtu.be/xo_uAi3dz7U https://youtu.be/vhLEH7qR97E https://youtu.be/-YqQNzHnwcI https://youtu.be/8M5tyuys0Hg https://youtu.be/sCTvn3iRKIs https://youtu.be/YxcwL7_tI1c
  4. You should be able to see them from anywhere. These are the "official" Youtube videos published by the distributors themselves. Our page is just playing a back and forward between them so you can compare. the addess of the page is www.musicstry.com/trtsound
  5. We have figured out a way to make this A/B comparisons without us having to edit any videos. You can see the comparison demos here: http://www.musicstry.com/trtsound The page will directly compare both official YouTube videos (ours and the one you choose)
  6. Thanks STC. Yes, we are using the dropbox service for the downloads. We have had people reporting both fast and slow performances. I guess their performance varies quite a bit depending on location and time... Thanks hvbias, we need all the help we can get. It is a big world out there and it really is very difficult to get noticed :) When we started this project we knew it would take a long time to get it right, and we also knew that the calibrations itself was a key factor on the whole process. The calibration is a fixed filter specifically designed for these recordings. Since the filter had to be run over the digital file, it seemed more convenient to record directly to digital format.
  7. We have used two different pianos in two different positions. The black piano was the one we used for: - Debussy Preludes. book 1 - Chopin Polish Songs. - Albeniz Iberia - Songs of Paolo Tosti - Cabrera plays Debussy - Conversations. The distance from the mics to the center of the soundboard was 3.7 meters The brown piano was the one we used for: - An evening with Riera - From Russia with love - Mozart - Beethoven Wind Quintets - Goldberg Variations - Ad astra The distance from the mics to the center of the soundboard was 2.8meters The mic arrangement is standard ORTF (110º angel, 17 centimeters apart)
  8. We had to erase the videos because someone reported the channel. Apparently under Spanish law we are not allowed to use videos from other record labels to make these A/B comparison demos. We are trying to figure out a workaround on this problem. I will let you know as soon as we have something that we can work with...
  9. Hello everyone, We have spent the past 6 years working on something that has never been done before: calibrating a two mic pure stereo fixed recording setup to achieve transparency. The recordings made with this system do not need any kind of treatment. With no equalization, no mixing, no mastering, no dynamic range compression, they are the purest stereo recordings ever made. We want to thank you all for your input in achieving this goal. We have always relied on your knowledge and very detail feedback. Your help has been key to completing the project. Now that we have finished our development we are ready to launch our product to the market. We will be publishing our music on all online stores, but we will also keep offering all our download formats on our web page. We have created a FaceBook page to promote the label. We are trying to grow our audience by offering an album giveaway to all our fans. All you have to do is "Like" us and send us a FaceBook message with the album of your choice, and we will send you a Gift Code to download any of our formats: - Master 24bit 96kHz (FLAC and WAV) - DVD 24bit 48kHz (FLAC and WAV) - CD 16bit 44.1kHz (FLAC and WAV) - MP3 vbr 48kHz (direct from the 24/96 Master) Here is the address of the FaceBook page: https://www.facebook.com/PlayClassics.recordlabel Thank you very much for your help! It has been a great pleasure to work with you all
  10. The albums are now in the hands of the distributors. It is just a matter of time that they start appearing all over the different platforms. We gave the distributor a 16bit 44.1kHz version of the music (there was no other option). Each platform will have to get its own streaming and download file from this "parent" 16/44.1 version. Any way, we will keep offering the files for download on our web site. There you will find: - the Master 24bit 96kHz in FLAC and WAV - the DVD 24bit 48kHz in FLAC and WAV - the CD 16bit 44.1kHz in FLAC and WAV - the LAME MP3 vbr 48kHz made directly from the Master 24bit 96kHz
  11. Hello everyone, I am happy to announce that we have concluded the development of our acoustic research project. The current and final calibration version is 2.0b All the albums in our catalog (we currently have 12 albums) have been updated with this version and we have proceeded to publish them on all the internet stores (Apple Music, iTunes, Spotify, Amazon, Google Music, YouTube Music, Pandora, etc.) To show the results of our development we have made some demonstration videos where we compare the sound quality of our methodology (TRT Sound) with the sound quality of conventional recordings. Here you have a link to the YouTube playlist where you will find 30 comparison videos of PlayClassics vs Warner, Naxos, Decca, Harmonia Mundi, Deutsche Grammophon and many others ... https://www.youtube.com/playlist?list=PLNtta5SvxB1IprJFJdTXkYOrZDIWNMS7_ I hope you enjoy them. Thank you very much for your help, your feedback has been key to the development of this project.
  12. Hello everyone, I would like to give you an update to what we have been doing so far: Some people contacted us privately to give us very detailed feedback. The good thing is many of these people have been listening to our calibrations from the beginning (they can play all our different calibrations on their systems). That allowed them to A/B compare all those calibrations over the different instruments to let us know which instrument sounded best on which calibration. These kind of feedback is very helpful for us because it does give us a very good sense of what is going on. We have used all that information to develop a new calibration 2.0b. This new calibration is just a fine-tuning of 2.0a but we think it does make a difference. We have update our web page with this new calibration. I know all these "updating" can get tiresome, but if there is still someone "out there" willing to try I would love to share these new material with you again :)
  13. Back then we had 6 albums that we offered with calibration 2.0 We now have 12 albums plus we have further developed our calibration to try to improve transparency. The new albums have been recorded using a new piano. All 12 albums are now processed with calibration 2.0a.
  14. Thank you Ken for your feedback. I appreciate it The recording setup is exactly the same on all albums (old and new) so none of the differences you hear should be due to different recording techniques. The only thing that is different is the piano itself and its position on the stage. The new piano is a larger piano and it does have a much richer bass. It is also placed up front on the stage so if you were sitting in our hall it would actually be closer to you. It seems like what you are hearing is consistent with what we are doing in the actual hall (and that is a good thing because that is usually not the case)
  15. If the calibration is right, what you see on the recordings should match what you see on the sketches. In other words, all the instruments on all these recordings should be rendered by your systems in a way that their relative position to one another matches the position of the physical instruments on the stage. Why is this important? The "black hole" we were talking about before is the one responsible for the deformation of the spectrum of all recorded material. That deformation does not just affect timbre, it also affects depth, presence, balance, position, etc... If you were to record several instruments (like we did) using a fixed two mic setup with no mixing, you would definitively be able to perceive the effects of this "black hole" on the sound of the raw takes. As of today, the industry does not have a "mechanical" way to correct this (that is what we were talking about on the "timbre solfege" post). There is no known solution to this other than the engineer fixing it "by ear". Our research project is about developing a methodology that will allow us to deal with this "black hole" in a more objective manner, but checking the quality of the results is still something that has to be done "by ear", which is what we are trying to do here with this giveaway.
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