专辑简介：
The Telarc Soundstream SACDs continue to totally amaze me. They are 50kHz and only 16 Bit but sonically outperform most high resolution PCM recordings in my collection and even some pure DSD SACDs! They are amazing. Could it be the "distant" 3-microphone technique? The Soundstream Digital recorder? Could it be the genius of engineer Jack Renner? I read an interview in the Absolute Sound in the early 1980's with Jack Renner about the big bass drum, the deep low frequecnces of the basses and cellos and the lack of stringency in his Telarc LPs. Jack said he moved the microphones further back than normal as bass frequency waveforms are "longer" and need more space to bloom and the further back the deeper the bass. Moving the microphones back also lessened early digital's problem with shrill strings. Also he went with Frederick Fennell and hit all the music and pawn shops in Cleveland looking for a bass drum with the right "thud". It is important to note that Telarc uses NO EQ and no artificial processing we get what the microphones heard and nothing more or less.
So on to the review of the Bizet/Grieg Telarc SACD. The basses and cellos have that deep warm sound that I only hear when I go see a live orchestra concert in a concert hall with velvet seats and lots of wood. And the drum whacks have the attack of the real thing, actually sound pressure pushing against your gut just like when a bass drum is pounded live and the bass is so deep it rattled the walls. Oh, this is a wonderful SACD and makes me wonder if Telarc has moved their microphones in closer as digital has improved. I would love to hear a Telarc DSD made with same microphone techniques as the old Soundstream ones!
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发表于 2020-3-7 20:40:16
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