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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz At The Pawnshop vol. 2
ZamknijGaleria okładek
- Arne Domnerus - alto saxophone
- Bengt Hallberg - piano
- Georg Riedel - bass
- Egil Johansen - drums
79.00 PLN
CD:
Nr kat.: PRCD9044Label : Prophone Records
129.00 PLN
SACD Multi-CH:
Nr kat.: PRSACD7079Label : Proprius (Szwecja)
Jeden ze znanych amerykańskich recenzentów jazzowych, publikujący w stołeczne prasie napisał najkrótszą recenzję tej płyty: "The Best Jazz Recording of the Century"! I TAK JUŻ ZOSTAŁO. Historia nagrania płyty to wręcz scenariusz filmu. Oprócz niespotykanej nigdzie indziej radości ze wspólnego muzykowania - realizatorom udało się uzyskać nieprawdopodobną jakość techniczną dźwięku. Coś wspaniałego! (i ma kontynuacje! Także cz. 3!) ...Today (1992) in my fifties, I can look back on over thirty years in the recording business, and I am thus also able to survey my whole career in a certain perspective. I recognize my quest for that tight and harmonious sound of those early records in my childhood. Maybe they have been there in my sub-conscience all the time, directing me in my ”sound pictures” in a way that makes musicians feel comfortable. After years in multi-track studios with all their over-emphasis on the very latest technology, such as overdubbing and that painstaking splicing that nearly made me a legend, I simply, in the mid-seventies, withdrew to only two Neumann U47 microphones and a Nagra stereo recorder. For several years I recorded only folk music all over Scandinavia and – once – even in India! These recording activities have given me invaluable experiences of exposure to living sound in full dimensional stereo. I started to challenge myself in trying to focus the microphones so close to the music that I could catch the same recorded sound that I remembered from the old records. I said to myself; if they could do it over 60 years ago with just one single microphone it must be possible for us with our utterly sophisticated technology also... (Gert Palmcrantz, Recording Engineer)
