Super, this link works perfectly! Curious why a simple search didn’t give this PL as a result?
Anyway … thx. Happy X-mas.
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I have two of the albums pictured on regular CDs, plus a recording of Dvorak’s Dumky Trio. They all sound quite nice.
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@narcom this is indeed a brilliant album. I ran it again today, and now - with my upgraded pre and streamer - it’s even more a joy to listen at
Iver
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Absolutely. I particularly like these two:
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The album has been released and it is very impressive;
Carmen Gomes Inc. RAY!
[quote]
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]
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They even released it in 768kHz! . The 768 test track can be found on this page;
(Ray - Carmen Gomes Inc - The Arch Recording Series vol 3 - 20% OFF!)
Blockquote " 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? "
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As far as I can see, we can not play it at that high level on our Naim equipment which only goes up to 384 I belief…, and then the question is if the step up from 352 is audible for us or not…
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That’s right.
They do say that it is an experiment and they want to know if this is something for the future.
A very favorable review in the Positive Feedback - Creative Forum for the Audio Arts
of the album, except that the writer thinks the album is a multimic recording when in fact it is both;
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). 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.
anyhow here is the review;
"Positive Feedback - A Creative Forum for the Audio Arts
Review of Carmen Gomes - Ray!
With the wonderful lead vocals of Carmen Gomes, the Carmen Gomes Inc. band delivers an album I find totally engaging from start to finish.
They make these songs completely their own while honoring the great Ray Charles in so doing.
Sound Liaison’s recordings continue to impress me with their very clean, transparent, and precisely localized sound.
Recording engineer Frans de Rond’s signature is readily apparent in the purity of sound and precise placement of performers that he achieves in this multi-microphone studio recording. If you’ve heard his ‘One Mic’ recordings on Sound Liaison, you will know how special his recordings can be.
I was a bit hesitant at first knowing this would be a multiple microphone outing. But, he pulls it off superbly in a highly phase coherent, tightly knit, outcome that belies it’s multi-mic roots.
As with his other recordings, this displays great depth, and almost physically palpable placement of the musicians in the soundstage.
[GO TO RAY!](Ray - Carmen Gomes Inc - The Arch Recording Series vol 3 - 20% OFF!)
In making this album, Peter Bjørnild (bassist) writes;
"We quickly realized that we did not want to make a tribute album. Rather we would pay our respects to Ray by following the advice Ray gave to Willie Nelson at a recording session: ‘Don’t think about how anybody else does it, just do it the way that YOU feel it.’
So we took the songs back to their bare essentials, tried to hear them as if they had just been written and in so doing made them our own."
And a fresh sound they indeed deliver.
This is their music, with a nod to the master here and there. Never over-produced, always respecting each other, the musicians find a nice balance of supporting each other, challenging each other, complementing each other, never stepping on one another.
The song that I most enjoyed on my first listen was ‘CC Rider’ by Ma Rainey and Lena Arant (circa 1924, also known as ‘See See Rider Blues’).
As Bjørnild comments in the liner notes, “Here Tettero’s guitar is the 2nd protagonist in this story of a love affair taking a wrong turn. The guitar is of equal importance to Gomes’ voice, it’s the CC Rider Carmen is singing about. Listen how they keep on challenging each other yet never get in each other’s way. That kind of communication and musical empathy is a rare find.”
A rare find indeed. And a rare treat to hear. Highest recommendation."
Rushton Paul, December 28, 2021
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Yes I agree with the review and indeed the album is part of the Arch series.
all those are highly recommended imo.
Vol. 1
Vol. 2
Vol.3
I like the concept;
Blockquote "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. "
and there are indeed the possibility of a few ghosts hanging around in that studio;
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Time for Ballads sounds incredible and the special circumstances recording the album surely must have helped to reach such an optimum sound;
“It was a wonderful experience recording the Chris Maene Straight Strung Grand Piano. Each note has a wonderful clarity and timbre. This piano really sings. My guess is that because the strings are not crossed as on a normal grand piano, the sound of each string is free to ring out as it does not have to pass other strings above or below. The upper harmonic ringing from sympathetic strings, as one can faintly perceive on even the best of the traditional cross strung grands, is completely absent. And last but not least; the perfect placement of the lowest note completely to the left and the highest completely to the right is a sound engineer’s dream come true.
Another dream come true was recording the beautiful ‘wood’ reverb in the old church. The sound of this church is really special. A normal stone church has a never ending brittle sustain that can be difficult to handle when recording but the sound in this little church is warm and lush with a gorgeous natural decay.” Time For Ballads liner notes
Church converted to a studio. Best example is the now defunct classic Columbia’s 30th street studio.
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This sounds good!
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reading the liner notes to the album; *Jeremy Olivier Where the light gets in*
what is that about
Schnerzinger’s pioneering giga canceling technology, ?
You can convert it to 24/384 with dBpoweramp convertor.
Is this a jazz only thread??? Jazz Police???
No. A number of rock artists have taken care of the sound of their releases. Neil Young is one, and I just picked up several Grateful Dead releases that are wonderful. Of course, no matter how much trouble is taken with the releases, if the recording itself is muddy, there’s only so much you can do. I should note that in some cases the artists were striving for a muddy sound. Think Exile on Main Street. And no matter how many times Layla is released it will never, ever sound great.
I speak of classic rock, because I don’t listen to that much rock from the 90’s on. However, so much music released this millennium is mastered for MP3 players and to be as loud as possible, with limited dynamic range, not much I listen to can be classified as audiophile.
Of course you can, but it’s easier to then just download it in the bitrate which can be digested by our black boxes….
I cannot recall that there was an option on the 768kHz sample. Maybe I missed it.