Briphonic - High Fidelity

Mayo Nakano next to the Bösendorfer Model 290 Imperial piano ... Sentimental Reasons and MIWAKU, both containing music of the Mayo Nakano Piano Trio. pl | en mainpage archive contact KrakowSonicSociety TECHNOLOGY BRIPHONIC:WHATISBEST recordlabel/recordingstudio Contact: Briphonic/NipponSogoSeisaku Co.,Ltd. SakakibaraBldg.1-28-14Nishi-Ochiai Shinjuku-kuTokyo161-0031Japan tel.:+81-3-6313-0264 [email protected] briphonic.com MADEINJAPAN WORLDPREMIERE |BLANK Japanesetechnicalcompetencecombinedwithin-depthdevotiontoaspecificsectionofagivenfieldhaveledtoasituationwhereitishardfortherestoftheworldtocompetewiththiscountryinmanyrespects.Wehavealreadywrittenaboutmanysolutions–ouradmirationwasusuallymixedwithdisbelief.Theadmirationresultedfromthefactthattheactionstakencontributedtomuchbettersoundthatotherscanonlydreamof.Ontheotherhand,inthenameofreliability,engineersdemandedexplanationsthattheywereeithernotabletofindbasedontheirclassicacademiceducationor,evenifittheywere,theydidnotbelievewhattheyfoundout. So,wehavegotusedto,oratleastIhavegotusedtothefactthatJapanesevisionariesaretreatedlikeholyfoolsoryurodivy(Russian:юродивый,Greek:môros,Syrian:ţđîäčâűé)–wedonotfullyunderstandthem,sowehavetoaccepteverythingthattheysay,asinsometimewewillalsogetwheretheyarenow.Ofcourse,thesearepeoplewhoperfectlyknowwhattheyaredoing.However,fromtheperspectiveofa“classicaudiophile”,theactionsthattheytakemayseemtobeextreme,whichhasledtothecreationofaseparategroupofmanufacturers. MayoNakanonexttotheBösendorferModel290Imperialpiano Ifwe,audiophiles(thesecondlayer),aretreatedby“common”people(thefirstbasiclayer)withreserveandsuspicion,andtheactionswetakearecomparedtovoodoo,thegroupthatImentionedaboveisseeninexactlythesameway,butfromourperspective,creatingthethirdlayer.Forpeoplerepresentingthefirstlayer,thosebelongingtothethirdonearetheleastrootedinreality.However,theyactuallymakeouraudiophileworldgoaround. ThesearethepeoplethatIwouldliketotellyouabout.TheBRIPHONICcompanyrunbyMrMasamichiOhashidealswithrecordingandreleasingmusiconCDsandpendrives.ThewaytheyacthasallthecharacteristicfeaturesthatImentionedabove:strivingtomakeavisioncometrueatallcosts,beingcuriousandhavinganuncompromisingattitude.Atthesametime,thesepeopleapplysolutionsregardedbymostaudioandsoundengineersasnonsensicalandoftencounterproductive:masteringona1”tapemovingwiththespeedof76cm/s,recordingandmasteringintheDSD256(11.2MHz)digitaldomain,withmaterialreleasednotonlyonaclassicCompactDisc,butalsoonCD-R,GoldCD-Rand–itisanabsolutepremiere!–ExtremeHardGlassCD-R. Withreferencetotwoalbums,wewilltellyouwhattheysoundlike,showyoudifferencesinsoundanddiscussthetechnicalaspectsofthistypeofrecording.However,asBriphonicisacompanythatisdeeplyrootedinanaloguetechnology,letusstartwiththehistoryoftheevolutionofreel-to-reeltaperecordersandthepaththathasledthecompanywhereitisnow. |TRACK1:THEHISTORYOFTHETAPERECORDER Atthebeginningtherewasthetape.Itisnotthewholetruth,butwewillcomeclosertoitifweaddthewords:“highqualityrecordings”tothissentence,whichwillresultin:“Atthebeginningofhighqualityrecordingstherewasthetape.”Itisbecauserecordingonmagnetictapemadeunprecedenteddevelopmentoftheartofrecordingpossible.Tapehasitsrootsinpre-warGermanyanditwasdesigned,aswellasmanufacturedbytheBASFcompany.Thetaperecorderthatitcouldbeusedwithowesitsoriginalform,i.e.oneusingalternatingbiascurrentmodulatingthesigna;,toNaziscientists.TheirmainaimwastobroadcastHitler’sspeechesinmanycitiesatthesametime,buttheywouldalsobroadcastclassicalmusic. TheMagnetophonK4(photo:ReinhardKraasch) Thatcouldhavebeenoneofthoseunusedopportunities–ifthearmythatoccupiedGermanyhadnottakendevicescalledtheMagnetophonbothtotheUSandtheUSSR.AsfarastheUSAisconcerned,thepersoninchargeofthatoperationwasJohnT.Mullin,anengineerandaudio&videospecialistwhowassenttoParisin1944,wherethearmykeptthedevices.Amongthem,thereweretaperecorderscalledtheAEGTonschreiberMagnetophon,usingtapethatwasalittleover¼”wide,movingwiththespeedof77cm/s(30.3inchespersecond). However,thesoundqualityofthosedeviceswasnothighanditdidnotexceedthequalityofaphonetalk.EverythingchangedwhenMullinmetaBritishofficerthathesharedhisloveformusicwith.Thankstohim,MullingottoasmallstudioinBadNauheim,northofFrankfurt,wherehefoundtheAEGMagnetophoncharacterizedbysoundqualitythathehadnotevendreamtabout–itwasfoundthatthosedevicesusedalternatingcurrentbias. Mullinmanagedtoconvincehissuperiorstolethimsend,forhisprivatepurposes,twoK-4taperecordersand50cleanBASFandAGFAPVCLuvithermType-LtapestotheUSA.Whenhereturnedtothecountry,hequicklydemonstratedtheinventiontotheAmpexCorporationinSanFrancisco.Thecompanywasinterestedinitandsoonitbuiltitsowntaperecorder,theModel200,basedontheGermandevice.OneofthepeoplewhowereespeciallyinterestedinitwasthemusicianandsingerBingCrosby.In1947,hehiredMullintorecordhisradioperformanceandboughtthefirsttwoAmpextaperecordersfortheenormoussumof50,000USD,contributinginthiswaytofinancingresearchcarriedoutbytheAmpexcompanyandtoitsrapiddevelopment. |TRACK2:SIZEDOESMATTER Theconstantvaluesfortapespeedandwidththatwereestablishedatthattimebecametheofficialstandard.Theycanbecheckedonthewebsiteallegrosound.cominanarticleentitledTapeReplay,EQ&HeadStandards.Thefollowingvalueswereacceptedthenforreel-to-reeltaperecorders:30 ips(76.2cm/s),15 ips(38.1cm/s),7½ips(19.05 cm/s)and3¾ips(9.53 cm/s).Forthesakeofsimplicity,speedvaluesincm/swererounded. PleasepayattentiontothefactthatalthoughthetaperecorderoriginatedinEuropeandtapespeedvalueswereoriginallyestablishedusingthemetricalsystem(centimetrespersecond),since1947thevalueshavebeendefinedusingtheimperialsystem(inchespersecond).TheonlysmallexceptiontotherulewastheDutchinvention–acassetteplayerwith4.75 cm/stapespeed,i.e.1.875ips. Acomparisonofthewidthoftapesandtracksonmagnetictape Inhomeconditions,thelowestoftheavailablespeedswereused,i.e.3¾ips(9.53 cm/s)and7½ips.Recordingstudiosused15 ips(38 cm/s)and7½ips(19 cm/s).However,onthewebsiteoftheSimonFraserUniversity(intheTapeSpeedtab)wefindasentencethatwillbeespeciallyimportanttous:“Onecanalsooccasionallyfindtaperecordersworkingatthespeedof30 ips(76 cm/s).”Wheredosomanytapespeedvaluescomefrom?Whydidnottheyfocusonjustone?Theanswerisreallysimple:thehigherthetapespeedis,thebroaderfrequencyresponseandthelowerTHD,wow&flutterandnoiseareobtained. Theoretically,thehighestspeedsshouldhavebecomethecommonstandard,yetthatdidnothappenbecauseofthehighcostoftapesandthetechnicalfeaturesoftaperecorders.Itisnotnecessarytocommentontheformercause–increasingtapespeedtwicedoubledthecostoftape.Thelatterismorecomplicated.Ananaloguetaperecorderisnotadevicewhichrecordsandproducesidealsound. Itwasimportantforsoundengineersthatfrequencyresponsechangesalongsidechangesintapespeed.Ontheonehand,thehigherthespeedis,thebroaderthefrequencyresponse(atitstop),but,ontheotherhand,bassislesslinear(sometimesitisboostedandsometimessuppressed)anditdecaysmorequickly.Thisiscommonknowledgeandthatiswhysomerecordingengineerschoose15 ips(19 cm/s)tapespeed,claimingthatsoundis“thicker”and“betterfilled”thankstothat.However,in1997,MrTimdeParavicinipresentedastereophonictaperecorderworkingwithz1”tapeandtubeelectronics.ThesystemwasaprototypeofthesystemusedinBriphonicdevices. AcomparisonoffrequencyresponsevaluesmeasuredfordifferenttapespeedscanbefoundinanarticleentitledTheUnpredictableJoysofAnalogRecordingonJackEndino’s(aproducerandsoundengineer)website.Hemadeaneffortandanalysedhowtaperecordersmanufacturedbydifferentcompanies,bothmultichannelandstereophonicones,operateatdifferenttapespeeds;hewasinterestedonlyintwovalues:30 ips(38 cm/s)and15 ips(19 cm/s).Hisdiagramsclearlyshowthatpropertaperecordercalibrationandthechoiceofaspecificmodelarethemostimportanthere.ThebestresultswereobtainedforStudertaperecorders–theA80MkII,A820andA827,aswellastheAmpexATR-102taperecorder. STUDER TheStuderA820taperecorder In1949,WilliStuderdevelopedhisfirsttaperecordercalledtheDynavox.WhenheestablishedtheELAAGcompanyin1951withHansWinzeler,thedevicegotanewname:theRevoxT26.TheStuder27,asitisalsocalled,enteredmassproductionin1952.In1960,anewmodel,theC37waspresented,havingspecsthatarestillconsideredverygoodtoday.In1964,theproductionofitsfour-channelJ37versionbegan.ItwasusedinEMIstudiostorecordTheBeatles’albumSgt.Pepper'sLonelyHeartsClubBand.A24-trackdevice,theA80model,waslaunchedin1970andthefirsttaperecordercontrolledbyamicroprocessor(theA800model)waspresentedin1978.ItsmostadvancedversionwastheA820fromtheyear1985,afterwhichStuderfocusedonthedigitaldomain… Anotherparameterconnectedwithrecordingontapeisitswidth.Youmaystillremember–tapesproducedbyGermancompanieswerealittleover¼inchwide.ItwasacceptedintheUSAandadaptedtothesystemthatwasusedthere–sincethatmoment,tapewastobe¼inchwide.Itwasusedtorecordmonophonicsignaloveritsentirewidthandlateralsostereophonicsignal,dividingtapeintotwotracks. Problemsoccurredwhen,in1953,8-tracktaperecordersappearedthankstoLesPaul.Thenarroweramagnetictrackontapeis,theweakeritsparameters,i.e.thehighernoiseandTHD,andthelesslinearfrequencyresponseis.Alongsidethedevelopmentofthistypeofrecording,tapeswerebecomingwiderandwider–first1/2”andthen1”and2”.Actually,2”tapewidthwasonlyusedin24-tracktaperecorders. |TRACK3:BRIPHONIC Inthisway,wegettothepointofthisarticle–solutionsusedbyBriphonic.Ihavealreadymentionedthatthecompanybelongstothecategoryof“holyfools”,i.e.itdoesmorethaneventhemostnon-standardcompaniesfromtheaudiophilecircle.Initssearch,ithasgonebothtowardstheanalogueanddigitaldomain,andwewilllookattheprocessusingtwoalbumsasexamples:SentimentalReasonsandMIWAKU,bothcontainingmusicoftheMayoNakanoPianoTrio.MrMasamichiOhashi,theownerofBriphonic,wasresponsibleforbothrecordingandmasteringthealbums. MASAMICHIOHASHI Owner,soundengineer WOJCIECHPACUŁA:WhatdoesBRIPHONICmean? MASAMICHIOHASHI:Itisacombinationoftwowords:‘Brilliant’and‘Phonic’. Pleasetellusafewwordsaboutyourself IestablishedtheBriphoniccompanyin1992.Beforethat,Iworkedasasoundengineerforalargeforeignfirm.Apartfromme,twootherengineersalsoworkforBriphonic. AsystemusedbyMrOhashi-san Whataudiosystemdoyouuse? Atwork,ImostoftenusetheTannoySuperRedMonitorloudspeakers.Athome,whereImostoftenlistentomusicfromtheyears1940-1960,Ihaveasystemconsistingofthefollowingelements: loudspeakers:theALTECA5(515B+288C)withanindependentlysuspendedtweeter, preamp:Thoress, poweramps(x4):theThoress300B(WE)x2+Thoress845x2, signalsplitter:Uesugi. Inwhatrespect,doyouthink,is1”tapebetterforstereosignalthanthestandard¼”?Andwheredoesthe76cm/sspeedcomefrom? Totellyouthetruth,itpartlydependsonwhatsomeonelikesanddislikes.Butonethingiscertain–usingawidetapesignificantlyreducesnoiseandsoundbecomesthickandfull.Resolutionalsoincreases.Letmeremindyouthat½”tapeswerecommonlyusedformasteringinthesecondperiodoftheanalogueera,astheywerebetterthan¼”. Whatmixingtabledoyouuse? Foranaloguerecordings,weusetheexcellentNEVE88Rconsole.Whilemixing,wecanbypasselectronicsinthetaperecorder,sothesignalcoversamuchshorterdistance. Whatmicrophonesdoyouprefer? Amongothers,weusetheDPA4040andNeumannM50microphoneswithlargediaphragms. IcanseethatinsomerecordingsyouusetheCesiumAtomicClock,andinotherones–e.g.fortheSentimentalReasonsandMIWAKU–theRubydiumAtomicClock–howdoyouchoose? Thechoiceispragmatic–weusetheclockthatisavailableatthegiventimeandplace. Whatarethedifferencesinsound? TheCelsiumclockismorepreciseandsoundismilderwithit. WhataretheavailableformsofBriphonicrecordings? OurrecordingsareavailableonCDsorpendrives.WeofferCompactDiscsinafewformats:theclassicCompactDisc,MasterCD-R,MasterGoldCD-RandMasterGlassCD-R.Whenitcomestothetwoalbumsthatwearetalkingabout,wegetDSD11.2MHzand5.6MHzfilesonapendrive. DoesitmeanthatrecordingonaGlassMasterCD-Risthebest? No,thatisnotwhatwethink.Itisjustoneofthepossibilitiesthatweoffer.However,itisworthknowingthatsomepeoplethinkthatthisformoftheCDisthemostperfect. YourCDsfeaturetheDirectCuttinglogo–whattechnologydoesitreferto? Inaclassicproductionchain,thepressingplantissentaDVD-RorCD-R,whichmeansthatsoundisdegraded.WhenitcomestotheDirectCuttingtechnology,wehaveeliminatedthisstageandwebringourDigitalAudioWorkstation(DAW)tothepressingplant.So,theglassmasterandCD-RsareburntdirectlyusingsignalthatcomesfromtheDAW.OnlyinthiswayitispossibletomakethehighestqualityCD.Unfortunately,itisquiteacomplicatedmethod. AreyouthinkingaboutvinylrecordswiththeBriphoniclogo? IloveLPs.Butthebestwaytolistentoourrecordingsnowisdigitaldistributionthatisalsoveryconvenient.IhopethatasmanypeopleaspossiblewillbeabletolistentomusicfromourUSB3.0pendrives. TheSentimentalReasonsalbumwasrecordedinalargehall(“HallRecording”)ontothe8-trackStuderA827taperecorder(“AnalogMultiTrackRecording”)modifiedbyMrMasamichiOhashi.Thehighestavailablestandardtapespeed,i.e.30 ipswaschosenandthewidestavailabletapewasused,i.e.2”.Itisanabsolutelyunusualcombination,as½”tapeshavebeenusedfor8-trackrecordings.Fourtimeswidertracksminimisenoiseanddistortion.Letmejustaddthatallthemusicrecordedonthealbumwasplayedbyallthemusicianstogether. The24-trackStuderA827taperecorderwithan8-trackhead Signalwasthenmixed,masteredintheanaloguedomainandrecordedonthestereophonic“master”StuderA80Mk.IV(“AnalogMasterRecorder”)taperecorder.Bothofthetaperecordersarecalledthe“MonsterAnalogMachine”intheliterature,becausetheformermakes2-inchwidetapeturnandthelatter…Thelatterisevenmoreinteresting,reachingthelimitsofwhatisavailableatastudio.Thetapespeedofthemastertaperecorderis76cm/sandthedeviceuses1”widetape! 1-inchtapeusedforstereophonicrecordingissomethingnewtome.¼”mastertapesarecommonlyusedandsomerecordingsaremadeon½”tape–somemastercopiesofDepecheModealbumsareavailableinthisform.But1”?And76cm/s?Thatmeansveryhighcostsandthenecessitytoprocesssoundinordertobringbackthebass,which,asitwasdemonstratedbyJackEndino,constitutesthebiggestproblemwhilerecordingatahightapespeed. Letusaddthatthefollowingmicrophoneswereusedfortherecording:theNeumannM50fortheBösendorferModel290Imperialpiano,theSchoepsMK4withtheM222tubepreampforthebassandtheNeumannTLM170iandKM84,theAKG451andtheSennheiserMD421forthedrums.DigitalsignalwaseditedintheMergingTechnologiesPYRAMIXVer.XDAW. TheStuderA80MkIVtaperecorderwith1-inchtape MIWAKUwasrecordedinadifferentway.Itwasassumedfromthebeginningthatitwouldbeadigitalrecording.SimilarlyasinthecaseoftheSentimentalReasonsalbum,whereanextremeversionofananaloguesystemwasused,thistimeBriphonicalsochosesolutionsthatseemunnecessarytomostaudioandsoundengineers.MaterialwasrecordedontoeighttracksinthedigitalDSD256(11.2MHz)domainandinthisformitwasmixedandmastered(DSDMastering,i.e.DSDWide).StereophonicDSD11.2MHzsignalwasobtainedinthisway.Therearesixtracksonthealbum,ofwhichfourwererecordedatastudioandtwoduringaconcert. So,thisiseverythingabouthowthealbumswererecorded.Itisimpossiblenottoadmitthatthecompany“wentalltheway”,usingabsolutelyuniquesolutions.Ofcourse,itisnottheonlyfirmthathasstrivenforperfection.Itisnecessaryforustorecallthat,inthefirsthalfofthe1970s,therecordlabelcalledThreeBlindMice(absoluteperfectionists)lookedatsolutionsusingincreasedtapespeedandLPsfeaturingalarge76cm/slogoenteredthemarketquitequickly. TBMadoptedadifferentstrategy,however–the16-track3MS-72taperecorderworkedatadoublespeed.Thethingwasthatitwasnecessarytoincludeasmanyas16channelsonbroadtapeandincreasingtapespeedsignificantlyimprovedtheS/Nratio.ThemasteringtaperecorderusedwasthePhilipsPRO-51,operatingatthetraditionalspeedof38cm/s.BurningamastercopyforaCDdirectlyfromaDAWhadalsobeen“practised”bytheJVCcompany–seetheOkihikoSuganoRecordingCollectionXRCD24.However,suchacombinationofafewtop-of-the-rangetechnologiesissomethingunique. |TRACK4:SOUND Themethodofreleasingthematerialisperhapsevenmoreinterestingthantherecordingmethod.AsMrOhashi-sansaid,bothalbumsareavailablebothinthePCM16/44.1formatandintheformofDSD128andDSD256files.TheavailableCDsare:aclassicCompactDisc(¥3500~115PLN),CD-R(¥7000~230PLN),GoldCD-R(¥10,000~330PLN)andGlassCD-R(¥100,000~3300PLN);allofthepricesgivendonotincludeVAT,dutyandshippingcosts.LetuslookattheCDsthistime,leavingacomparisonwithfilesonapendrive(¥13,000)forameetingoftheKrakowSonicSociety. SENTIMENTALREASONS CompactDisc|Therecordinginitsbasicformsoundsextremelyexpressive.Themusicalmessageisverynatural,butalsowell-defined.Ourattentionisattractedbystrongandcleartreblecharacterizedbyhighresolution.Bassisquitestrong,butshownfromacertaindistancewithoutcontouring.Itisagoodmove,althoughthebasssometimeslacksdefinition.Thepianoisthemostimportant,however–withbeautifultoneandshading.Itisshownfromacertaindistance,whichmakesitmorenatural.Perfect,reallyexceptionaldynamicsalsoremainsinalistener’smemory. CD-R|ShiftingfromaCDtoaMasterCD-Rgivesyouashock–alwaysandeverywhere.Eveninthiscase,wherethebasicCDitselfisgreat.ThematerialontheCD-Rissofterandwarmer,withloweraccent.Thetreble,whichissimplyverycleanontheCD,nowisnotonlycleanbutalsonatural,becauseitisbetterintegratedwiththemidrange.Thedynamicsseemstobereduced,butitisbecauseeverythingislesscontouredandtheattackisnotmarkedasstronglyasinthebasicversion. GoldCD-R|Soundwiththe“gold”versionisevenlower,asthedoublebassismoreemphasised.ButitsdecayisshorterthanontheCDversion,whichmakesitbetter.ThetrebleisstrongerthanontheCD-RandresembleswhatwegetwiththeCD,butwithalltheadvantagesofa“Master”disc,i.e.softnessandresolution.SoundseemscalmerthanontheCD-RandmuchcalmerthanontheCD.Butonlynow,insuchacomparison,onecanhearthatthisisTHEversionandTHEsound–verynatural,relaxingandatthesametimedensewithinitself,naturalandthick. GlassCD-R|Ihavebeenimpatientlywaitingforthisversion,asIhadneverlistenedtoaGlassCD-Rbefore.IdidlistentoGlassCDsandCrystalCDs,butnottotheirrecordableversion.Itwouldbetheeasiesttosaythatitisthebestandwinsovereverythingelse.However,itappearsthatitwasnocoincidencewhenMrMasamichiOhashitalkedaboutpersonalchoicesinourmini-interviewanddidnotsaythataGlassCD-Risautomaticallybetter. ItisbecausesoundwiththisversionisthemostopenandwithoutthewarmththatmakestheGoldCD-Rversionsopleasantandnatural.Whenitcomestoopenness,toneanddynamics,theGlassCD-Rversionisclosertothe“regular”CD.So,itiscolderthantheCD-RandGoldCD-Randmoreopenthantheyare.Oneneedstolistentoitforalongertimeinordertohearwhatitisallabout. TheopennessthatIamtalkingaboutmeansincredibleresolution.Duetoit,itispossibleformetohearthingsthatIdidnothearbeforeordidnotpayattentionto.Thedynamicsisincredible,asitcombinestheattackfromtheCDversionwiththefilledandprecisesoundfromtheGoldCD-R.Thedoublebassisstilldefinedtooweakly,Ithink.Iunderstanditwasaboutshowingitsrealcharacterandnotwhatisheardbymicrophones–andthataimwasachieved.However,thefeelingof“hereandnow”,whichwegetwiththisinstrumente.g.whenlisteningtoTBMrecordings,isgone.WhatwegethereresemblesRudyvanGelder’srecordings,butwithamuchbetterpiano.Thedynamics,resolutionandopennessareamongthebestIhaveeverheardfromdigitaldevices. MIWAKU CompactDisc|Thefirstimpressionisrelatednottosounditself,butaspecificcharacteroftheserecordings–differentthaninthecaseofSentimentalReasons.MIWAKUisamoreintimatealbum,withinstrumentsshownfromashorterperspective,closer.Onemayreallylikeit. OnecanalsohearthespecificcharacterofDSDrecordings.ThesoundiswarmerandmilderthanwiththeSentimentalReasonsalbum.Theattackhasanincrediblyattractiveform,whichmakesthewholerecordingseem“tailored”tolonglisteningandimmersingoneselfinmusic.ThebasicCDintheformersessionwasreallyopenanddirect,whilethisoneisclosertowhatwegetwithaturntable.WhatIamtalkingaboutismainlytheimpressionofthicknessandlowtonalbalance. CD-R|TheCD-Rversionischaracterizedbybetterresolutionandshowsinstrumentsclosertous.However,asitshowsreverbbetter,theproportionsofeverythingalsoseemtobeshownbetter.Ifearliertheinstrumentsreallymaterialisedinourroom,thestudiowheretheywereplacedmaterialiseswiththeCD-Rversion.Thecymbalsarestillwarmanddense,butthepianogoestothenextlevel–itislarger,moredynamicandlouder.Thedoublebassisnotthatwarmanymore,itischaracterizedbybetterresolution,butitisshownfromacertaindistanceagain,becauseofwhichthereisnottoomuchdefinitioninitssound. GoldCD-R|TheGoldCD-Rversionshowedawarmerversionoftherecordingbefore–thistimesoundresolutionishigherthanwiththeCD-Randmoreopen.Thepianoisshownalittlefurtheraway,becauseofwhichitnolongergivestheimpressionofbeingwarmandsituatedclosetous.However,onlynowdowegetthefullnessandrichness,“thingshappen”herenotbecauseofdetailsandparticulars,butthankstoinformationandsaturation.Thisseemstobetheleastattractiveversionsofar,butinfactitisthemostdynamic,characterizedbythehighestresolutionandsimplythemostreal. GlassCD-R|Itisincrediblehowmuchthisversionresemblesboththe“ordinary”CompactDiscandtheGoldCD-R!Itstoneislowerthanwiththelatter,butitsresolutionisthebestofthewholeset.ThesoundisnotascloseaswiththeCD,butitisnotsowarmed,either.Thedrumsarethemostdynamicandthestrongest.Thepianoisshownfurtheraway,buthasexcellentdynamicsanddefinition–onlynowcanonehearalotofflavoursthatweremaskedbeforeeitherbythewarmthoremphasiseddynamics.Itisanoutstandingversion,althoughforpeoplewithbalancedsystems,knowinghowsuchinstrumentssoundlive. |BLANK ThewayMrMasamichiOhashirecordsandreleasesalbumsisuniqueand,unfortunately,reservedforfewpeople.Itisbecauseitisincrediblyexpensive,consumesalotoftimeandwillneverbeprofitableenoughtobeusedbylargerrecordingstudios.However,itisthesameinallindustriesonthetopofwhatispossible–thereareartistssellingtheirproductsinsmallseries,workinginsmallteams,reachingalimitednumberofconsumers. However,thosewhowillhaveanopportunitytolistentorecordingswiththeBriphoniclogo,willknowwhatthedigitalreferencesoundslike–mainlyinthefieldofCDs,butalsointhecaseoffiles.Itisevenmorevaluableaswearetalkingaboutgreatmusic;suchacombinationmustbeparticularlyappreciated.Fromamongalltheversionsthatbothreviewedalbumsareavailableon,the“goldenmeans”istheGoldCD-Rversion.IthaseverythingthatwerequirefromaMasterCD-Randitisalsoincrediblymusical.However,ifyoucanaffordtobuyaGlassCD-R,youwillhearwhatisreallypresentintherecordedmaterial. HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl HighFidelity.pl mainpage|archive|contact|kts©2009HighFidelity,designbyPikselStudio,projektowaniestronwww:Indecity