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In Reply to: RE: Mahler 3: Need Help with High Rez Recording Versions posted by Mel on July 10, 2017 at 20:21:23
The most important thing to consider here is that this is one truly excellent performance. I loved it the first time I heard it, including especially the Alto, Gerhild Romberger. The relative qualiies of the various formats are mere quibbles, I am sure, compared to the excellence of this performance.
Eat your hearts out guys, but I have a non-commercial, native DSD256 Mch version of the same performance made by a friend and Grammy-winning engineer who works with Jared. It is completely unedited, and the performance is remarkably clean without any obvious faults. He used his own special mikes and equipment in parallel with Jared's. The result is spectacular.
However, my Mch system needs DSP for speaker distance correction, bass management and Room EQ. The DSD256 version sounds amazingly realistic but somewhat distorted spatially on my system. Merging Technologies had been using this non-commercial recording as a demo for their NADAC at shows.
So, I play it as I normally do DSD material via conversion to PCM176 with full DSP processing, where it still ranks as the best recording I have ever heard. My good friend and recording critic for TAS, Andy Quint, agrees.
I am going to also acquire one of these commercial versions also for comparison. This thread now gives me something to think about as to which one. Maybe, it will just be the SACD.
Incidentally, my friend recently gave me a file of the last movement of a Budapest Das Lied Von der Erde also with Gerhild Romberger. Awesome and perhaps even a tad better as a recording. My engineer friend agrees. Really looking forward to the whole release.
To provide some background for the recordings I make with Jared of his large orchestra projects; they're experimental and archival, using minimalist microphone alignments. They serve the purpose of providing an alternative minimalist ITU surround microphone alignment recording, as well as until recently, recording at DSD256. In addition, they serve as a session backup, and are the property of Channel Classics.
Channel Classics uses the proven microphone technique for recording orchestras used by all labels; a main array supplemented by accent spot mics placed within the orchestra. This technique, unlike the majority of Channel's much smaller scale projects with fewer microphones, requires mixing and balancing to derive stereo and multichannel recordings. This in turn, recorded in DSD, requires conversion to DXD for mixing. Once edited and mastered, the DXD edited master is converted to the various deliverable formats.
The recordings I make with Jared of the same sessions require no mixing and balancing for surround, since they're only five mics for the five surround channels. DXD conversion is not required for editing, with the exception of the average one tenth second of the edit crossfade interval.
Jared is contemplating editing the DSD256 recorded minimalist mic version, and making it available as a download. The edits I've made of the many takes (typically three playings plus patches) are without consideration of music values or interpretation, just that content that pleased me. Jared of course could not allow the orchestra to be publically presented unedited, so a released minimalist mic version will include the appropriate producer's edits, without DXD conversion, except for the mix to stereo,
A free mixed down stereo and native DSD multichannel sample of my version of the 1st movement's beginning is available on nativedsd.com in all the DSD bit rates and DXD:
Chris - I have to respect the engineer's and other commercial interests. But, there is a sampling of that special version here:
Perhaps but there may be legal/contractual issues in the way.
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