Post by zeus April 5, 2005 (1 of 6)
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From Super Audio CD News:
Opus3 calls for common sense in surround sound
Swedish independent record company, Opus3, has produced a special hybrid surround SA-CD showcase of many of its leading recording artists including Peder af Ugglas, Eric Bibb, Erik Westberg and Katinka Wilson. The album is the record company’s 21st SA-CD release.
Opus3 has developed an international reputation for its luxurious acoustic surround recordings – many personally supervised by Opus creator Jan-Eric Persson. For these recordings, SA-CD has proved the perfect audio partner. “First it was mono, then came stereo and now, finally, we have surround sound,” comments Jan-Eric Persson. “In DSD and SA-CD we have found the perfect recording and storage medium for surround sound.”
Opus3 has chosen now to create its Surround Showcase on SA-CD since the company passionately believes in the power of surround sound to take music listening to new levels. “Surround sound takes idea of hi-fi to a higher ground, but not all music lovers realise this and I can understand why,” explains Persson “The reason is that many surround recordings are made to put the listener in the middle of the orchestra. So far, I’ve never met anybody anywhere in the world who likes this arrangement - many people dislike surround sound because of this and think that this is the way it always is made.
“Also, continuous sharp sound with a lot of treble, such as percussion, is something that our ‘ear-brain system’ does not like at all when coming from behind. This is the reason why I have written a lot about surround sound in the sleeve notes for the new Opus3 SA-CD "Showcase 2005" album and hope to demonstrate with a variety of music how good surround sound can really be! My basic idea with surround sound is to make the walls in peoples listening room disappear and turn them into the place where the musicians are performing the music - a Blues or Jazz Club, a Church or a Concert Hall.
“Our target audience is people who like good music, but with special attention to people who also appreciate a good recording in order to transfer all the feelings and emotions that the musicians and the composer want the listener to experience,” adds Jan-Eric. “I believe surround sound is very important for the future of the audio industry, thanks in a large part to the influence of DVD-Video. People have become more and more used to surround sound and I think it is already a natural expectation when buying a disc with music only. Also, well recorded surround sound erases many of the limitations of stereo when it comes to the musical experience!”
“I strongly believe that the music industry has to explain much more clearly to people what surround sound is supposed to do to enhance the enjoyment and realism of listening to music,” concludes Jan-Eric Persson. “Most people do not understand its versatility for listening to music only - a lot of people associate it with the ‘crash-boom-bang’ sound effects on many films. What it offers to music is very different and of course also has to do with taste - something I have tried to explain when it comes to Opus3 surround recordings for years. I think it is very important that we promote what SA-CD offers in terms of a flexible choice - you can buy this future proof disc today, and later develop your hi-fi rig into surround sound when you feel ready for it.”
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Post by tream April 5, 2005 (2 of 6)
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You have to love their spirit and commitment. SACD will stay around because of labels like Opus 3, Channel Classics, Pentatone, Telarc, Bis and so on (and yes, if we keep buying them!). I am not fond of samplers, although I know that many people are. I don't care for a hodge-podge of music, and if I like a track, there's no guarantee that I'll like the entire SACD.
I find Opus 3's choice of repetory to be quite eclectic and I'm not sure what the label is all about. I have two recordings on Opus 3-the Brahms Clarinet Trio/Quintet, and the Tribute to Young Louis. Very good sound on both. (I feel a review coming on the Tribute to Young Louis-I have a very large collection of Louis Armstrong recordings-he was an absolutey unique artist, and essential to any serious jazz collection. My sense is that covers of early jazz (sometimes known as "Dixieland" are done better by Europeans than by Americans-I've heard both live, in multiple countries, and I think Europeans value early jazz more highly than we do, and play it with more passion. So my review of this SACD will be done with an open mind)).
This is a long way of asking what other releases on Opus 3 have folks on this forum found valuable?
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Post by mdt April 5, 2005 (3 of 6)
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zeus said:
From Super Audio CD News:
Opus3 calls for common sense in surround sound
Swedish independent record company, Opus3, has produced a special hybrid surround SA-CD showcase of many of its leading recording artists including Peder af Ugglas, Eric Bibb, Erik Westberg and Katinka Wilson. The album is the record company’s 21st SA-CD release.
Opus3 has developed an international reputation for its luxurious acoustic surround recordings – many personally supervised by Opus creator Jan-Eric Persson. For these recordings, SA-CD has proved the perfect audio partner. “First it was mono, then came stereo and now, finally, we have surround sound,” comments Jan-Eric Persson. “In DSD and SA-CD we have found the perfect recording and storage medium for surround sound.”
Opus3 has chosen now to create its Surround Showcase on SA-CD since the company passionately believes in the power of surround sound to take music listening to new levels. “Surround sound takes idea of hi-fi to a higher ground, but not all music lovers realise this and I can understand why,” explains Persson “The reason is that many surround recordings are made to put the listener in the middle of the orchestra. So far, I’ve never met anybody anywhere in the world who likes this arrangement - many people dislike surround sound because of this and think that this is the way it always is made.
“Also, continuous sharp sound with a lot of treble, such as percussion, is something that our ‘ear-brain system’ does not like at all when coming from behind. This is the reason why I have written a lot about surround sound in the sleeve notes for the new Opus3 SA-CD "Showcase 2005" album and hope to demonstrate with a variety of music how good surround sound can really be! My basic idea with surround sound is to make the walls in peoples listening room disappear and turn them into the place where the musicians are performing the music - a Blues or Jazz Club, a Church or a Concert Hall.
“Our target audience is people who like good music, but with special attention to people who also appreciate a good recording in order to transfer all the feelings and emotions that the musicians and the composer want the listener to experience,” adds Jan-Eric. “I believe surround sound is very important for the future of the audio industry, thanks in a large part to the influence of DVD-Video. People have become more and more used to surround sound and I think it is already a natural expectation when buying a disc with music only. Also, well recorded surround sound erases many of the limitations of stereo when it comes to the musical experience!”
“I strongly believe that the music industry has to explain much more clearly to people what surround sound is supposed to do to enhance the enjoyment and realism of listening to music,” concludes Jan-Eric Persson. “Most people do not understand its versatility for listening to music only - a lot of people associate it with the ‘crash-boom-bang’ sound effects on many films. What it offers to music is very different and of course also has to do with taste - something I have tried to explain when it comes to Opus3 surround recordings for years. I think it is very important that we promote what SA-CD offers in terms of a flexible choice - you can buy this future proof disc today, and later develop your hi-fi rig into surround sound when you feel ready for it.”
Absolutely right, the situation couldn't be described better ! It is ABSOLUTELY necessary, that consumers are informed in the way Persson sais.
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Post by nickc April 6, 2005 (4 of 6)
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tream said:
You have to love their spirit and commitment. SACD will stay around because of labels like Opus 3, Channel Classics, Pentatone, Telarc, Bis and so on (and yes, if we keep buying them!). I am not fond of samplers, although I know that many people are. I don't care for a hodge-podge of music, and if I like a track, there's no guarantee that I'll like the entire SACD.
I find Opus 3's choice of repetory to be quite eclectic and I'm not sure what the label is all about. I have two recordings on Opus 3-the Brahms Clarinet Trio/Quintet, and the Tribute to Young Louis. Very good sound on both. (I feel a review coming on the Tribute to Young Louis-I have a very large collection of Louis Armstrong recordings-he was an absolutey unique artist, and essential to any serious jazz collection. My sense is that covers of early jazz (sometimes known as "Dixieland" are done better by Europeans than by Americans-I've heard both live, in multiple countries, and I think Europeans value early jazz more highly than we do, and play it with more passion. So my review of this SACD will be done with an open mind)).
This is a long way of asking what other releases on Opus 3 have folks on this forum found valuable?
Hi Tom
I had the Brahms Clarinet disc you talked about but was disturbed by a high kind of white whistling noise from the clarinet at certain points. I found the same in the BIS Mozart Clarinet Concerto/Quintet disc which I loved otherwise. I think there was a thread earlier about this.
I don't think I've ever heard a clarinet in an intimate, chamber setting live so I'm no expert at all, but once I started hearing it I started to wait for it and it became a little distracting.
I totally agree with you about small labels like BIS, Channel Classics and Telarc et al being the saviours of SACD!
Cheers
Nick
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Post by Castor April 6, 2005 (5 of 6)
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zeus said:
From Super Audio CD News:
Opus3 calls for common sense in surround sound
“Surround sound takes idea of hi-fi to a higher ground, but not all music lovers realise this and I can understand why,” explains Persson “The reason is that many surround recordings are made to put the listener in the middle of the orchestra. So far, I’ve never met anybody anywhere in the world who likes this arrangement - many people dislike surround sound because of this and think that this is the way it always is made.
While welcoming Mr. Persson's views on the benefits of surround sound, I cannot agree that " many surround recordings are made to put the listener in the middle of the orchestra."
I have about 150 SACDs, mainly orchestral, and only two use the rear channels for anything other than ambience. I would be interested to know which recordings place the listener in the middle of the orchestra.
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Post by tream April 6, 2005 (6 of 6)
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Castor said:
While welcoming Mr. Persson's views on the benefits of surround sound, I cannot agree that " many surround recordings are made to put the listener in the middle of the orchestra."
I have about 150 SACDs, mainly orchestral, and only two use the rear channels for anything other than ambience. I would be interested to know which recordings place the listener in the middle of the orchestra.
I understand there are a few (more on DVD-A than on SACD)-but this was much more the norm back in the 70's. Most producers realize now that this is a mistake, yet there are still folks among the non-initiates who have never heard a modern surround sound recording who believe that is what the technology does. An earlier thread documents my exchange with one of Fanfare's critics (Colin Anderson) who was certain that is what multichannel is all about, and said so in print, without ever hearing one. (My retort to Anderson did get printed in Fanfare, where he responded by calling me rude and aggressive, without ever dealing with the substance of my remarks).
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