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In my haste to bang out my “epic,” I obviously left out some key bits. Here’s a list of the music I listened to:

Dire Straits: “Dire Straits”
Dire Straits: “Making Movies”
Peter Wolf: “Sleepless”
Police: “Outlandos d’Amour” (SACD)
Moody Blues: “Days of Future Passed” (SACD)
Pink Floyd: “Dark Side of the Moon” (SACD)
REM: “Murmur”
Randy Newman: “The Randy Newman Songbook”
Norah Jones: “Feels Like Home”
Miles Davis: “Kind of Blue” (SACD)
Kinks: “Misfits” (SACD)

On well-recorded vocals, such as on the Norah Jones, Dire Straits, and Randy Newman discs, the Unlimited did an uncanny job of capturing vocal textures, reproducing them with a degree of smoothness and grainlessness, not to mention presence, that was pretty amazing. It also was resolving enough to capture little inflections that were lost on both the Goldmund and other top-tier players I’ve owned.

On rockier fare, such as “Outlandos d’Amour,” “Misfits,” and “Sleepless,” the Unlimited showed its dynamic (macro- and micro) muscle, capturing kick drums and cymbal work with stunning power, speed, and clarity.

The only jazz I used was “Kind of Blue.” Jazz isn’t my forte, so I may be way out of my depth here, but the brass had a burnished “glow” I equate with tube gear, but at the same time, it also possessed a “Jaws”-grade bite when called for. Some of Miles’ blares really took me by surprise with their energy.

Hopefully this gives readers some needed context. If not, hey, I tried. :)


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  • By popular request - Quint 14:45:22 03/05/07 (0)


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