4-Channel SACD - Hybrid
Excerpts of experimental recording
|1 - Drum Kit Test||
|2 - Wind Ensemble Test A||
|3 - Male Quintet Test A||
|4 - C&W Band Test||
|5 - Brass Quintet Test A||
|6 - Brass Quintet test B||
|7 - Wind Ensemble test B||
|8 - Wind Ensemble test C||
|9 - Male Quintet test B||
|10 - Choir Test A||
|11 - Choir Test B||
|12 - Choir Test C||
|13 - Choir Test D||
|14 - Choir Test E||
|15 - Choir Test F||
|16 - String Quartet test A||
|17 - String Quartet test B||
|18 - String Quartet test C||
|19 - Jazz/Blues test A||
|20 - Jazz/Blues test B||
|21 - Jazz/Blues test C||
|22 - Jazz/Blues test D||
|23 - Jazz/Blues test E||
Most baffles absorb sound from mid- to high-range frequencies; lower frequencies are more difficult to absorb. Here, the unique shapes of the IsoMike baffles are advantageous. As lower frequencies flow around the heart- or egg-shaped baffles, they are scattered, effectively dissipating their energy.
Eliminating line-of-sight between the microphones seems to lower some fidelity robbing cancellations, this reveals a layer of extreme detail and a sense of increased sensitivity. As such we took great care, therefore, to reduce the noise level within the auditorium during the recordings.-
All recordings were made at a low enough level to assure that no clipping occurred, therefore you may need to raise your volume control more than when playing some commercially available CDs where the volume has been normalized and/or compressed.
Since there is NO limiting, the dynamic range might surprise you, your system or your pets. So be VERY cautious the first entire playing so as to not damage amplifiers or speakers.
These tracks contain no gain changes or other such processing, so some tracks will be at a softer or louder level than other tracks. However, the dynamic range within a track is the same as the original live performance.
Small groups may have a performer - to - microphone distance of 10-15, larger groups would have performer - to - microphone distances up to 60. At no time were the microphones in a closemiked configuration. (Except we did try some spot microphones during the Joe McQueen sessions on the bass and for Joes voice.)
All recordings were made at Weber State University (pronounced weeber), Ogden, Utah, in the Val. A. Browning Center for the Performing Arts, the Austad Auditorium. Performers were students, faculty, staff and guests** of Weber State University www.weber.edu
C&W Band - Josh Evertsen, Jason Horspool (drum kit), Justin Goff, Chad Johnson and Galen Crowshaw.
Fry Street Quartet - Jessica Guideri, Rebecca McFaul, Russell Fallstad
and Anne Francis.
Storm King Brass - Rick Gerard, Marty Tyce, Eric Miller, Gino Villarreal and Eric Kuper.
Tminus5 - Jeff Petersen, Karsten Longhurst, Jared Allen, Shawn Satterthwaite and
Jason “Fish” Salmond.
Joe McQueen and Friends - Joe McQueen, Clayton Furch, Don Keipp, Skip Musgrave, Brad Wheeler and Evan Coombs.
|Microphones - DPA 3529A|
|Microphones - Sennheiser MKH-800|
|Microphones - B.L.U.E. The Bottle|
|Preamp - Millennia Media HV-3D custom|
|A/D Converters - EMM Labs ADC8 MkIV|
|Recorders - Genex GX9000|
|Recorders - Tascam DV-RA1000|
|Recorders - Tascam DS-D98HR|
|DAW - Pyramix DSD Workstation|
|D/A Converters - EMM Labs DAC8MkIV|
|Monitor Speakers - Lipinski Sound L707|
|Monitor Speakers - Magnepan 20.1|
|Monitor Controller - Grace Design M906|
|Monitor Controller - Grace Design M902|
|Monitor Amps - Pass Labs X350.5|
|Monitor Headphones - Sennheiser HD-650|
|KIMBER KABLE Select Series|
|Assistants||Brett Terry &