Post by pacwin May 8, 2013 (1 of 89)
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World's Highest Resolution Recording Captures Boston Baroque
Cleveland-based Five/Four Productions captures world's highest resolution audio recording using 11.2 MHz Direct Stream Digital technology.
April 26, 2013
Cleveland, OH - Locally owned Five/Four Productions, Ltd. announced today that it has successfully captured the world's highest resolution audio recording. Five/Four Recording Producer Thomas Moore, Recording Engineer Robert Friedrich, and Assistant Engineer Ian Dobie travelled to Worcester, Massachusetts to record Joseph Haydn's masterpiece Missa in Angustiis (Nelson Mass) Hob XXII:11, and Symphony No. 102 in B flat major Hob. I/102, with Martin Pearlman and Boston Baroque in the world-renowned acoustic of Mechanics Hall. The recording is tentatively planned for release in October, 2013 on the Linn Records label.
Five/Four Productions partnered with Merging Technologies, manufacturers of the Pyramix Digital Audio Workstation, to capture this recording. Merging Technologies developed the technology to capture ultra-high resolution 11.2 MHz 1-bit Direct Stream Digital technology. Product Specialist Dennis Gaines of Independent Audio from Portland, Maine represented Merging Technologies at the recording sessions and provided technical support with the new recording system.
Five/Four Productions sees this recording as a quantum leap in high resolution recording technology that promises to deliver to the consumer the most realistic sound reproduction to date. 11.2 MHz Direct Stream Digital technology is a digital platform that utilizes a 1-bit ultra-high sampling frequency that results in a recording that is 256 times the resolution of CD.
Recording Producer Thomas Moore commented that "Five/Four always strives to capture sound in the most natural and realistic manner that reproduces pure and true. To be able to merge the sounds of period instruments and singers with this very modern technology is the perfect way for us to deliver the most realistic audio experience, just as if you were standing with the performers among you."
Five/Four Recording Engineer Robert Friedrich said "Recording to Direct Stream Digital has always been a must for us to deliver the most revealing and accurate sound. Taking DSD from 2.8 MHz to 11.2 MHz doesn't just step it up to the next level, it catapults it!"
"I am excited that Boston Baroque could be part of this landmark recording," remarked Martin Pearlman, Music Director of Boston Baroque. "Capturing the detailed nuances and transparency of our period instruments has always been important to us, and now it is possible on a higher level than ever before."
This recording marks Five/Four's dedication to promoting leading edge recording technology to deliver only the highest resolution recordings to their clients.
http://www.computeraudiophile.com/f15-music-general/worlds-highest-resolution-recording-16011/
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Post by diw May 8, 2013 (2 of 89)
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To be released on SACD?
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Or, to be released on Super SACD?
Ironically, the two recent Japanese SHM~SACDs I have of Hiromi's VOICE and the Stanley Clarke Band featuring Hiromi (both regular DSD original recordings) are sonically spectacular.....certainly better than the domestically pressed Telarc and Heads Up mch/stereo SACDs.
Would love to hear this LINN recording on a single layered multichannel SHM~SACD but the chances of that happening are NIL.
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Post by AmonRa May 8, 2013 (4 of 89)
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pacwin said:
256 times the resolution of CD.
Measured how? Does the frequency range go to 5.6 MHz or is the dynamic range 25088 dB?
And Rammipie: all SACDs, no matter what "super" or "SHM" on the label, has the same DD dataset on the disk. If somebody wants to pay more for those words, fine.
I really see no point in this. When the material is edited in Pyramix it is likely to happen in DXD format anyway. Good marketing material, though.
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Post by DSD May 9, 2013 (5 of 89)
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rammiepie said:
...to be released on Super SACD?
Super SACD = Super Super Audio Compact Disc. Doesn't work we would need a different name.
11.2 MHz DSD would be possible in stereo-only as it would fill out the whole disc since the music file is 4 times larger, it would demand a new player and wouldn't be backwards compatible, meaning it couldn't be played on current SACD players. To retain multichannel, 11.2 MHz DSD would have to be put on a BluRay disc since it has much larger storage capacity.
The best sound I have heard yet are from Opus 3's 5.6 MHz DSD music files. My Teac DAC plays 2.8 and 5.6 MHz DSD but not 11.2 MHz. Music is evolving faster than I can keep up.
Five/Four Recording Engineer Robert Friedrich said "Recording to Direct Stream Digital has always been a must for us to deliver the most revealing and accurate sound. Taking DSD from 2.8 MHz to 11.2 MHz doesn't just step it up to the next level, it catapults it!"
At some point in the future I MUST hear 11.2 MHz for myself, it should be thrilling!
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AmonRa said:
Measured how? Does the frequency range go to 5.6 MHz or is the dynamic range 25088 dB?
And Rammipie: all SACDs, no matter what "super" or "SHM" on the label, has the same DD dataset on the disk. If somebody wants to pay more for those words, fine.
I really see no point in this. When the material is edited in Pyramix it is likely to happen in DXD format anyway. Good marketing material, though.
AmonRa, I realize the technology is basically the same when converting to SHM~SACD but I have noticed that the single layered discs do have something the hybrids do not.
Whether it's more meticulous care in mastering or the compounds and care going in to making an SHM~SACD but the results are sonically just better..........
Hard to describe but it's THERE!
I also believe if the various labels took full advantage of the longer playing times afforded by single~layered SACDs the extra expense incurred would be more than compensated in the long run.
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rammiepie said:
AmonRa, I realize the technology is basically the same when converting to SHM~SACD but I have noticed that the single layered discs do have something the hybrids do not.
Whether it's more meticulous care in mastering or the compounds and care going in to making an SHM~SACD but the results are sonically just better..........
Hard to describe but it's THERE!
I also believe if the various labels took full advantage of the longer playing times afforded by single~layered SACDs the extra expense incurred would be more than compensated in the long run.
I agree with every word of that.
First, SHM SA-CDs are remastered... well, according to the method of not being remastered, which is the efficient and wonderful paradox of flat transfer. Flat transfers sound way better most of the time (since they're not altered by EQ or compression tricks), except when the original recording is beyond redemption (Velvet Underground & Nico: The Velvet Underground & Nico is a perfect example of that).
And I also believe the SHM polycarbonate does improve something. Even SHM CDs benefit from this strange and hard-to-describe enhancement to the ears.
Of course, there's always the argument "the break-in period is a psycho-marketing trick to lure you into believing it sounds better along as you get used to listening to the disc"... but then again, we are falling into an endless debate, which is furthermore a complete digression towards this thread.
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An interesting question would be : was this prowess useful in any way, or just some shiny vainglory attempted in order to smash a record in recording industry's annals ? The 5.6 MHz DSD format has not even been popularized yet in recording studios.
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diw said:
To be released on SACD?
That's the key question. Presumably if they bothered to record it they must have plans to launch some from of disc but there are no capable players. The idea alone excites me as I am firmly in the time domain camp.
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Kveld-Úlfr said:
An interesting question would be : was this prowess useful in any way, or just some shiny vainglory attempted in order to smash a record in recording industry's annals ? The 5.6 MHz DSD format has not even been popularized yet in recording studios.
I hope it is more than that.
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