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108 minutes of DSD Stereo & 75 minutes of PCM Stereo!

  • MA on SA - PCM Layer
  • 01. Eduardo Eguez - Prelude from Partita in E minor (The Lute Music of J.S. Bach Vol.2) (4:49)
  • 02. La Chimera - Voglio de vita uscir (Buenos Aires Madrigal) (3:55)
  • 03. Jiang Ting - Green Waist Dance Music (Voice of the Pipa) (7:22)
  • 04. Formatia Valea Mare - Balanceanca Sofie Vicoveanca (Departe de Casa) (2:45)
  • 05. Eduardo Eguez - Allemande grave (Suite F. ut fa diez, ou le ton de la Chevre By Robert de Visee) (4:13)
  • 06. Maria Ana Bobone, Joao Paolo, Ricardo Rocha - Leve Breve Suave (Luz Destino) (4:38)
  • 07. Begona Olavide - La Manana de San Juan (Mudejar) (4:53)
  • 08. Michel Godard - Victimae Paschali Laudes (Sous Les Voutes, Le Serpent) (8:12)
  • 09. Markus Stockhausen, Miroslav Tadic, Mark Nauseef - Calcinatio Auri (Still Light (for Paracelcus) (7:50)
  • 10. Peter Epstein Quartet - In Your Voice (Staring at the Sun) (8:30)
  • 11. Marcelo Zarvos - Forro En Curuipe (Music Journal) (7:04)
  • 12. Kalman Olah trio - Trio Pmprovisation (Contrasts+Parallels) (6:32)
  • 13. Eduardo Eguez - Prelude in E flat major BWV 998 (The Lute Music of J.S. Bach Vol.1) (3:05)
  • *******************
  • 1) M070A/Gitana, from "llama" by Silvia Perez Cruz & Ravid Goldschmidt: 88.2 kHz
  • 2) M071A/Improvisation on a Love Song, from "A Night in Budapest" by Kalman Olah and Friends: 88.2 kHz
  • 3) M071A/Improvisation on a Love Song, from "A Night in Budapest" by Kalman Olah and Friends: 88.2 kHz
  • 4) M062A/Taquito Militar, from "La Segunda" by Sera Una Noche: 176.4 kHz
  • 5) M069A/Prelude - Allemande - Sarabande, from Suite en La mineur, by Marin Marais, performed by Andrea De Carlo: 176.4 kHz
  • 6) M068A/Variaciones sobre el "Carnaval de Venecia" de Niccolo Paganini by F. Tarrega, performed by Gzegorz Krawiez: 96 kHz
  • 7) M049A/Passos, from "Almas" by Joao Paolo: 96 kHz
  • 8) M044A/Ajde da li znaes pametis Milice, from "Krushevo" by Vlatko Stefanovski & Miroslav Tadic: 96 kHz
  • 9) M052A/Malena, from "Sera una Noche" by Sera Una Noche: 96 kHz
  • 10) M045A/Certeza, from "O Exilio" by Joao Paolo: 96 kHz
  • 11) M046A/Meu Amor deu um Lenco, from "Senhora da Lapa" by Maria Ana Bobone: 96 kHz
  • 12) M026A/Murakkaz Ah Ya Muddasin, from "The Splendour of Al Andalus" by Calamus: 96 kHz
  • 13) M025A/Noche Maravillosa, from "Salterio" by Begona Olavide: 96 kHz
  • 14) M043A/Terra Da Esperanca Perdida, from "Sete Ondas" by Mauro Refosco: 96 kHz
  • 15) M058A/Vitamin C, from "Old School" by Peter Epstein: 96 kHz
  • 16) M029A/Jovano Jovanke, from "Old Country" by Miroslav Tadic & Howard Levy: 96 kHz
  • 17) M057A/Esquina, from "Esquina" by Joao Paolo & Peter Epstein: 96 kHz
  • 18) M047A/Solace from "Solus" by Peter Epstein: 96 kHz
  • 19) Chopin's Berceuse, performed by Gabriella Kafer at Belvarosi Szent Mihaly Templom, Budapest: 88.2 kHz (no release date for this recording)
  • SAMPLER - TEST DISC - sampler
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329.00 PLN

SACD Multi-CH:

Nr kat.: MaOnSa
Label  : MaRecordings

Poza rekordowym czasem odtwarzanie jednej płyty - ponad 180 minut, a więc TRZY GODZINY! sampler ten, zrealizowany przez Todda Garffinkle'a z amerykański-japońskiej wytwórni MaRecordings zachwyca jakością nagrania i prawdą brzmienia. Wszystkie nagrania zostały wykonane przy użyciu specjalnego mikrofonu, który skonstruował Todd, którego pasją jest dokumentowanie najciekawszych twórców regionalnych w najbardziej odległych zakątkach świata. Kolekcjonuje on także akustykę pomieszczeń. Na jego liście znajdują się obok wielkich katedr, małe kapliczki zawieszone na skalnych urwiskach czy też zapomniane kościółki, zagubione wśród stepów azjatyckich. However, it is not just any sampler, it is an SACD sampler and since I had been informed that it was possible to put 1 hour and 49 minutes of DSD Stereo on a single SACD disc, as well as 74 minutes on the CD layer, in addition to the fact that I wanted to test the "SACD waters", I decided to attempt history by producing the first 3 hour music disc! We introduced "MAonSA" at the 2006 Consumer Electronics Show in Las Vegas and I was pleasantly surprised to hear from the attendees that I spoke to that many of them own SACD capable players. I suppose that some listeners do not know however, that a number of the (perhaps less expensive) Universal players, while they do play SACD, do not actually output DSD sound as the DSD signal is first converted to high-sampled PCM before being output in the analog domain. Sound like a farce? With THAT in mind, should MA have released a DVD-Audio sampler? Well, since SACD is much more popular than DVD-A, we are sort of stuck, I guess. But, it still is true that the dedicated, truly HI-END SACD players really do output pure DSD sound. In any case, I thought that, if the SACD format sounded as good as many people think it does, that there should be enough listeners out there that may want to hear MA in a supposedly "better sounding format" than normal Redbook CD. There could also be some people out there not yet aware of MA, but who may develop interest because of this sampler. So, rather than just release a single album in the SACD format, I thought that the sampler would be the way to go and I would hear from many of you as to your thoughts on the music, the quality of this disc, etc. AND, I thought the novelty of being more than three hours long, would be enticing as well. I should perhaps convey however, what I feel has "happened" to the newly remastered music on the SACD layer of this disc. As far as my aging ears can tell, the music is expressed more delicately, with increased transparency and finesse. The low end is still there, while the presentation is more elegant. There are little things which I noticed for the first time upon listening to this SACD. This is encouraging, to say the least. Of course, the presentation will vary, depending on the machine on which it is heard, as well as the other audio components. I first auditioned this disc on an EMM Labs/Ed Meitner modified Philips 1000 Universal player which does output true DSD sonics, with STAX 404 headphones and a discontinued vacuum tube driver unit. I have to admit that since the original recordings were all done in the PCM format, this is not a true representation of pure DSD sound. We did however, use what we think is the best gear available, including a DCS 974 Digital to Digital converter, the Rolls Royce (both being from the UK!) of conversion and digital audio in general. We used a SADIE Digital Audio Work Station (also from the UK) which both I and mastering engineer Atsuo Fujita feel does little if anything to alter the original sonics of the master source and is therefore the best out there. We were also blessed with the full cooperation of Gabi van der Kley, the brains behind and owner of CYRSTAL CABLE in The Netherlands. She sent us handcrafted, digital cables to enable us to transfer data from the original master recorders, such as the "D-07A" 96 kHz Pioneer DAT and/or Fostex DV40 DVD-Ram Recorder, thru the DCS 974 and into the SADIE. Of paramount importance to us was the Stereo BNC to 25 D-SUB connector cable linking the DCS 974 to the SADIE. Unfortunately, digital audio workstations can be rather large and there is not much room to include true BNC connections on the rear panels; therefore the less than perfect 25 D-SUB connection. All computer workstations, are supplied with, at best, cabling that leaves much to be desired. We, on the other hand, had CRYSTAL! In any case, we went for "quality" throughout, using the best cables and the best gear we could get our hands on. I should emphasize that the "elegance" in the presentation of the music is very likely due to our use of CRYSTAL CABLE throughout the preparation of this disc.


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