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As some of you know, BIS uses PCM instead of DSD during recording The BIS website states this but not why. The PCM signal is converted to DSD for the SACD layer.
Any knowledge on this one? I'm very interested in their complete Dowland lute music SACD. It may be a single disc that is over four hours long! I don't get that one, either!
"'Cause when love is gone, there's always justice./And when justice is gone, there's always force./And when force is gone, there's always Mom. Hi Mom!" Laurie Anderson, "O Superman (For Massenet)"
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BIS started making sacds in 2003 or so. The first few were on the Sony loaned recorders and were done in DSD. After that Bis recorded in 24/44.1 until 2011 or so, when they upped the sample rate to 96khz. They made one recording at 24/88.2, the first Minnesota Orchestra recording in the Beethoven series.
In the mid 00's they released several discs of public domain music on extended play sacd's. These were single layer stereo sacd's with a capacity of just over 4 hours. They did not sell well, so only a few were released.
Since 2013 or so, all Bis releases have been multichannel sacd. They release 6 discs every month. They are the biggest supporter of sacd in the biz.
The Nielsen symphonies and concertos on Bis SACDs with Gilbert/NY Phil were all recorded as DXD (32/352.8) except Symphony 2 (24/96). Also, they sound great, despite Avery Fisher Hall.
The Mahler 9th, with Gilbert/Stockholm, is one of my favorite recordings of the piece. The MCh sound is transparent but with plenty of ambience. It was recorded at 44.1 (I think at 24 bits, but I'm not sure; the download at eclassical.com comes with 24-bit surround tracks as well as 16-bit and 24-bit stereo.
Linn do it as well and probably a large number of the bigger labels. The reason for the recording being done in PCM (as well as mixed, edited etc in the PCM domain) then recoded as a bitstream is because of the ease of editing. I think in the early days, it wasn't possible to edit the bitstream directly. It shouldn't make any difference to you in playback. In fact a pure bitstream (DSD) recording is theoretically inferior to a multi-bit recording because of the inability to adequately dither the signal. A delta-sigma modulator needs many more levels (at least 5) to overcome this limitation.
Regards Anthony
"Beauty is Truth, Truth Beauty.." Keats
I suppose that if you owned a restaurant with a Tudor theme, four hours of melancholy lute music might cover the background of the dinner shift from 6 to 10 PM. But for me, a little luting goes a long way. The music on this disc is well recorded and performed, but I have never been able to play it through from start to finish.
How did they squeeze four hours of music on a disc?
"'Cause when love is gone, there's always justice./And when justice is gone, there's always force./And when force is gone, there's always Mom. Hi Mom!" Laurie Anderson, "O Superman (For Massenet)"
Edits: 02/15/20
It is a single layer 2 channel stereo disc, without a hybrid red book program or a multi-channel SACD program, and with enhanced storage capacity, devoting it all to Dowland.
I suppose you have to like Dowland.
How does the recording compare to Bream & Odett?
"'Cause when love is gone, there's always justice./And when justice is gone, there's always force./And when force is gone, there's always Mom. Hi Mom!" Laurie Anderson, "O Superman (For Massenet)"
From a musical standpoint, I doubt that the BIS disc will be disappointing.
You are right that almost all the BIS SACD hi-res layers came from PCM recordings. And, I believe, a lot of them were 'only' 24/44.1 not 96kHz. I recommend you check out the recordings you are interested in at eclassical.com, which is the download site run by BIS's owner and you will see the recording's native format. I've seen a few listed as 24/88.2 and suspect these were originally DSD that have been converted to PCM (BIS did do a limited number of DSD recordings) but most are CD, 24/44.1k and 24/96.
Regards,
13DoW
...and then again one of the best recordings I ever heard was a piece Bruce Botnick played of James Taylor on his porch, recorded to DAT. So all this fussing about the bits and the rates is BY FAR secondary to the skill of the recorders and mixers!
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