{"id":7916,"date":"2025-05-25T11:17:48","date_gmt":"2025-05-25T11:17:48","guid":{"rendered":"https:\/\/staging.linkwitz.store\/?p=7916"},"modified":"2025-10-01T18:32:58","modified_gmt":"2025-10-01T18:32:58","slug":"linkwitz-minimal-microphoning-medal-contest","status":"publish","type":"post","link":"https:\/\/linkwitz.store\/de\/blog\/2025\/05\/25\/linkwitz-minimal-microphoning-medal-contest\/","title":{"rendered":"LINKWITZ Minimal Microphoning Medal Contest 2026"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7990\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Carmen-Gomes-Inc-2-scaled.jpg\" alt=\"\" width=\"400\" height=\"225\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Carmen-Gomes-Inc-2-scaled.jpg 2560w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Carmen-Gomes-Inc-2-scaled-920x518.jpg 920w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/p>\n<p style=\"text-align: center;\"><strong>Music capturing<\/strong><strong>\u00a0<\/strong>and\u00a0<strong>loudspeaker playback<\/strong><strong><br \/>\n<\/strong>represent the most critical conversion processes within the context of a modern musical chain.<\/p>\n<p style=\"text-align: center;\">Siegfried Linkwitz took extraordinary care in handling the <strong>loudspeaker playback<\/strong> side. Particularly by reducing spatial distortion, when rendering with full-range dipoles.<\/p>\n<p style=\"text-align: center;\">On the <strong>music capturing<\/strong> side, we aim to highlight a technique, that can deliver very natural and authentic results. This technique essentially consists basically of just a stereo microphone, paired with sensible recording skills.<\/p>\n<p style=\"text-align: center;\">We want to encourage young sound engineers to immerse themselves in this non-mainstream technique. Experience minimal microphoning!<br \/>\nEngage with one-mic experts, have fun, and send us your masterpiece.<\/p>\n<p style=\"text-align: center;\"><em><strong>Barry Diament<\/strong> (Soundkeeperrecordings) announced the 2025 winners in April 2025 at the AXPONA Audio Show:\u00a0<\/em><\/p>\n<h2 style=\"text-align: center;\"><em><strong>Alice van Biesen and Giorgos Dekos.<\/strong><\/em><\/h2>\n<p>&nbsp;<\/p>\n<div class=\"video-container responsive-embed widescreen\"><iframe loading=\"lazy\" title=\"AXPONA 2025 - Linkwitz Minimal Microphone Medal Contest winner announcement\" width=\"900\" height=\"506\" src=\"https:\/\/www.youtube.com\/embed\/OGYh8pbLBM4?start=37&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><em>At the Munich Audio Show, the winners<\/em><\/p>\n<p style=\"text-align: center;\"><em>Alice van Biesen and Giorgos Dekos<\/em><\/p>\n<p style=\"text-align: center;\"><em>received the winner Medal and the prize money of 1000USD<\/em><\/p>\n<p style=\"text-align: center;\"><strong><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8735\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1.jpg\" alt=\"\" width=\"400\" height=\"337\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1.jpg 1124w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1-300x252.jpg 300w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1-1024x862.jpg 1024w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1-768x646.jpg 768w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/LINKWITZ-Minimal-Micing-Contest-Winners-between-jury-members-1-920x774.jpg 920w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/strong><\/p>\n<p style=\"text-align: center;\"><em>Alice van Biesen and Giogos Dekos among jury members<\/em><\/p>\n<p>&nbsp;<\/p>\n<h2 style=\"text-align: center;\"><strong>Now, we would like to encourage young sound engineers<br \/>\nto participate in the actual contest:<\/strong><strong><a href=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-9-2025.pdf\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8907 aligncenter\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026.png\" alt=\"\" width=\"403\" height=\"403\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026.png 1559w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-300x300.png 300w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-1024x1024.png 1024w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-150x150.png 150w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-768x768.png 768w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-1536x1536.png 1536w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-920x920.png 920w, https:\/\/linkwitz.store\/wp-content\/uploads\/2025\/05\/medaille-2026-100x100.png 100w\" sizes=\"auto, (max-width: 403px) 100vw, 403px\" \/><\/a><\/strong><\/h2>\n<p><strong>LINKWITZ.audio specializes in manufacturing replay systems. So, why do they care about the recording side?<br \/>\n<\/strong><input type='hidden' bg_collapse_expand='69dff2c8868113081822967' value='69dff2c8868113081822967'><input type='hidden' id='bg-show-more-text-69dff2c8868113081822967' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c8868113081822967' value='Show Less'><button id='bg-showmore-action-69dff2c8868113081822967' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c8868113081822967' >When presenting two takes of the very same performance at audio shows, our audience consistently preferred minimal mic\u00b4ed version over the conventional multi-mike take. This blind test underlined the importance of microphoning in this whole recording-replay chain. So, we want to encourage (young) sound engineers to look into this exciting topic and -hopefully- supply us in the future with more sensibly microphoned music, to be enjoyed on the LINKWITZ dipole systems.<\/div>\n<p>&nbsp;<\/p>\n<p><strong>Why are so few recordings done this way<\/strong>?<br \/>\n<input type='hidden' bg_collapse_expand='69dff2c8869ab4043897448' value='69dff2c8869ab4043897448'><input type='hidden' id='bg-show-more-text-69dff2c8869ab4043897448' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c8869ab4043897448' value='Show Less'><button id='bg-showmore-action-69dff2c8869ab4043897448' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c8869ab4043897448' >The peak time for these recordings used to be in the 1960s. Even with the advent of multi-miking, multitrack recording, some companies, like Denon, still recognized and valued the inherent quality of minimal microphone recordings. They released a series of \u2018One Point Recordings\u2019 more than three decades ago.<br \/>\nToday, minimal microphone recordings are a niche. Only a few experienced \u2018connoisseur\u2019 engineers go the extra mile to create this superior sound experience. When musician are playing togther &#8222;now&#8220;, without multiple re-takes, &#8222;magic moments&#8220; can be captured.\u00a0 <\/div>\n<p>&nbsp;<\/p>\n<p><strong>Why do we prefer to render minimally microphoned recordings on full-range dipole loudspeakers, such as LINKWITZ LX521.4MG, Magnepans, Quads or Martin-Logans?<br \/>\n<\/strong><input type='hidden' bg_collapse_expand='69dff2c886afa9095672321' value='69dff2c886afa9095672321'><input type='hidden' id='bg-show-more-text-69dff2c886afa9095672321' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c886afa9095672321' value='Show Less'><button id='bg-showmore-action-69dff2c886afa9095672321' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c886afa9095672321' ><br \/>\nBecause both, minimal microphoning and LINKWITZ dipoles allow to reduce spatial distortion:<strong><br \/>\n<\/strong>Just as minimal microphoning techniques have their advantages over multi-mic techniques in naturally capturing 3D sound stages, full range dipole loudspeakers likewise have their advantages in rendering natural 3D sound stages compared to conventional box speakers:<\/p>\n<p style=\"text-align: center\"><strong>Jack Vad, Producer, Engineer, San Francisco Symphony,<br \/>\nGRAMMY-WINNER \u201d Best Classical Album &#8222;, about LX521 full range dipoles:<\/strong><\/p>\n<p style=\"text-align: center\"><strong><em>\u201c <\/em><\/strong><em>I didn\u2019t have any other speakers that could reveal as accurate a sound stage,<br \/>\ndo so with tonal &amp; timbral neutrality, and seemingly bypass the room.\u201d<\/em><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><\/div>\n<p>&nbsp;<\/p>\n<p><strong>Terms and Conditions<br \/>\n<\/strong>Participants agree to these terms and conditions by submitting their work.<br \/>\n<input type='hidden' bg_collapse_expand='69dff2c886d501080600378' value='69dff2c886d501080600378'><input type='hidden' id='bg-show-more-text-69dff2c886d501080600378' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c886d501080600378' value='Show Less'><button id='bg-showmore-action-69dff2c886d501080600378' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c886d501080600378' ><\/p>\n<ol>\n<li style=\"list-style-type: none\">\n<ol>\n<li><strong>Eligibility<\/strong>: The competition is open to all student sound engineers \/ recording engineers and postgraduates (up to five years after final exam) worldwide at the time of entry.<\/li>\n<li><strong>Entry Mechanism<\/strong>: All communication is in English. Participants must submit:<\/li>\n<\/ol>\n<ul>\n<li>a document of the student\u2019s institute, showing the participants&#8216; status as student or as a postgraduate, with maximum five years between final exam and begin of competition.<\/li>\n<li>a statement by the applicant, that he\/she has all relevant permission from copyright owners (e.g. artists, composers) to freely use the recording during the competition as well as for using it after the competition for demoing LINKWITZ loudspeakers. A commercial distribution of the recording may be offered to the engineer and artist(s).<\/li>\n<li>one minimally mic\u2019d musical recording per applicant, created by him-\/herself. Length of the file between 2 min and 8 min. The recording must be submitted in digital stereo format: .wav 16bit\/44,1kHz up to 24bit\/192kHz, optional additionally .DSF 11.2896Mhz.<br \/>\n<strong>Pure DSD post-processing is graciously offered to the participants by sound engineer Tom Caulfield, who processes DSD files according to competitors\u00b4 specifications with HQPlayerPro (No PCM\/DXD involved). This is a free service to participants of this contest. A big \u2018thank you\u2019 goes to Tom Caulfield!<\/strong><\/li>\n<li>documents in which the participant describes in detail the recording venue, material and methods (including detailed post-processing steps) used for that recording, complemented by a detailed and scaled sketch with the positioning of microphone(s) and musicians. Please provide a list of recording gear used, including microphone type(s) , their capturing pattern and their spatial placement\/direction. Minimum 3 photos of the recording venue with gear and musicians in place.\u00a0 Videos are optional (mp4 format).<\/li>\n<\/ul>\n<ol start=\"3\">\n<li><strong>Prize Details<\/strong>: The winner will receive the \u201cLINKWITZ Minimal Microphoning Medal\u201d. Total prize money is 1000 USD). The prize will be delivered within 60 days of the winner announcement.<\/li>\n<li><strong>Judging Criteria<\/strong>: Entries will be judged based on the quality of the minimalistic mic recording, anonymously. Most Jury members judge on playback systems with excellent spatial resolution and depth separation (full-range dipole speakers, e.g. LINKWITZ LX521). The jury will consist of experienced sound engineers, audio professionals<\/li>\n<li><strong>Duration<\/strong>: The competition begins on Sept 1<sup>st<\/sup>, 2025, and ends on January 31<sup>st<\/sup>, 2026. All entries must be received by January 31<sup>st<\/sup>, 2026, 23:59 GMT<strong>. <\/strong>Max 20 participants accepted in chronological order. With more than 20 participants, we reserve the right to limit the number of participants to two per school\/university\/studio. Relevant time stamp is created when all documents and files have been submitted.<\/li>\n<li><strong>Privacy and Data Protection<\/strong>: All personal data collected for the competition will be used solely for the purpose of the competition and will not be shared with any third parties. All data will be stored securely.<\/li>\n<\/ol>\n<p><\/div><\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>Judging Criteria<br \/>\n<\/strong><input type='hidden' bg_collapse_expand='69dff2c8870604080036273' value='69dff2c8870604080036273'><input type='hidden' id='bg-show-more-text-69dff2c8870604080036273' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c8870604080036273' value='Show Less'><button id='bg-showmore-action-69dff2c8870604080036273' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c8870604080036273' ><\/p>\n<ol>\n<li style=\"list-style-type: none\">\n<ol>\n<li><strong>Sound Quality<\/strong>: This is the most fundamental aspect. The recording should have clear sound, with no distortion or unwanted noise. The room choice should sound good, without flutter echo and a good reverberant tone consonant with the performance and arrangement. The recording should be free of air conditioning rumble, noises that are not organic &#8211; not associated with the musicians. The jury appreciates the lack of buzz, hum or hiss.<\/li>\n<li><strong>Balance<\/strong>: The balance between different instruments or voices in the recording is crucial. No single element should overpower the others unless it\u2019s intentional for the artistic effect. It should sound natural, or if it&#8217;s a popular or jazz group, appropriate for the group. For example, if the drumset in a jazz group sounds like it&#8217;s coming from far away, they would lose points. The recorded group should sound integrated and holistic as well as balanced instrumentally. For example, If one performer sounds like they are way off the location of the rest, the intent should be clear, or the score goes down. If one performer is excessively loud or soft compared with an accepted balance, the score goes down.<\/li>\n<li><strong>Dynamics<\/strong>: The recording should accurately capture and reproduce the dynamics of the performance. The microdynamics, short, momentary transients that give a recording life. These should be clear and present and match the distance of the instrument producing these short transients.<br \/>\nTransients should sound natural and impacting, if they are meant to be by the performance. If the arrangement is soft and &#8222;regular&#8220; the judge would still give it a high grade.<\/li>\n<li><strong>Stereo Imaging<\/strong>: The placement of instruments or voices in the stereo field adds sense of depth and space to the recording. The rendered image should mimic the recording situation. If it&#8217;s a string quartet and it extends all the way to left and right, it would get a lower score, the idea is that the soundstage width should appear natural for the performance and number of performers. If it&#8217;s a soloist and they sound artificially wide, it would get a lower score. Same for soundstage depth illusion: The front to back image of the group should appear natural.<\/li>\n<li><strong>Frequency Response<\/strong>: The recording should represent all frequencies accurately. There should be no noticeable frequency imbalances. Purity and naturalness of tone, lack of artificial hype, lack of artificial sibilance.<br \/>\nFurthermore, the submitted files will undergo technical analysis for bandwidth and noise spectrum.<\/li>\n<li><strong>Creativity<\/strong>: This is more subjective, but important. The participants choices in mic placement, room selection, and other factors that contribute to the uniqueness of the recording should be considered.<\/li>\n<li><strong>Emotional Impact<\/strong>: The most important thing is how the recording makes the listener feel. The jury should consider the emotional impact of the recording.<\/li>\n<li><strong>Difficulty of the Task: <\/strong>A bonus criterion. The more instruments and voices, the greater the difficulty<strong>.<\/strong><\/li>\n<\/ol>\n<p><\/div><\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n<p><strong>ANNEX 1<\/strong><\/p>\n<p><strong>List of One-Mic Experts <\/strong>in alphabetical order<\/p>\n<p>Barry <strong>Diament<\/strong> \/ Soundkeeper Recordings,\u00a0 <a href=\"mailto:sr@soundkeeperrecordings.com\">sr@soundkeeperrecordings.com<\/a><\/p>\n<p>Doug W. <strong>Fearn<\/strong> \/ Outermarker Records, <a href=\"mailto:info@outermarkerrecords.com\">info@outermarkerrecords.com<\/a><\/p>\n<p>Bob <strong>Katz <\/strong>\/ Digido.com, <a href=\"mailto:bobkatz@digido.com\">bobkatz@digido.com<\/a><\/p>\n<p>Frans de <strong>Rond<\/strong> \/ Sound Liaison, <a href=\"mailto:info@soundliaison.com\">info@soundliaison.com<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><strong>ANNEX 2<\/strong><\/p>\n<p><strong>Remarks on Recording Format:<\/strong><\/p>\n<p>The recording room, along with the setup of musicians and microphones, dictates the result. While the recording format cannot remedy any upstream deficiencies, it can be the \u2018icing on the cake\u2019.<\/p>\n<input type='hidden' bg_collapse_expand='69dff2c88732a8049123095' value='69dff2c88732a8049123095'><input type='hidden' id='bg-show-more-text-69dff2c88732a8049123095' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c88732a8049123095' value='Show Less'><button id='bg-showmore-action-69dff2c88732a8049123095' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c88732a8049123095' ><\/p>\n<p>Some artists and engineers insist on an all-analog path. However, quality losses due to copying and aging can be an issue, to varying degrees.<\/p>\n<p>We invite participants to try an alternative and evaluate for themselves:<br \/>\nDSD256 as a recording format. It can be referred to as an \u201canalog format stored on a digital medium\u201d. It allows for lossless copies and transfers.<\/p>\n<p>There are a lot of myths and outdated information about DSD to be found. Today\u2019s high-rate DSD has come of age. It has inherent advantages: \u201c\u2026because then you don\u2019t need any steep antialiasing \/decimation filters, and thus you avoid all the filter challenges to begin with.\u201d For playback, DSD-noise is shaped towards ultrasonic frequencies and then attenuated by an analog ultrasonic filter at the end of the D\/A conversion. As always, there are pros and cons. Try out for yourself.<\/p>\n<p>Today, DSD is always the very first internal format in analog-to-digital A\/D conversion chips. (But may deviate from 1-bit). Some A\/D chips support a direct output of the DSD signal for recording`(See Annex 3 for a list of Quad-DSD (256*fs) capable A\/ D converters and software).<\/p>\n<p>You can avoid filtering and decimation by avoiding PCM\/DXD.<br \/>\nOnly few audio professionals are aware, that today, you can do post-processing (equalizing, filtering, convolution reverb by a mono wav file, channel mixing), while remaining in the DSD256 format, no PCM\/DXD. (&#8222;pure DSD&#8220; with HQPlayerPro post-processing). However, its user interface is very basic. Sound engineer Tom Caulfield may assist you.<\/p>\n<p><\/div>\n<p>&nbsp;<\/p>\n<p><strong>ANNEX 3<br \/>\n<\/strong><\/p>\n<p><strong>Tools for pure DSD256 recording<\/strong><\/p>\n<input type='hidden' bg_collapse_expand='69dff2c8874ba0020821563' value='69dff2c8874ba0020821563'><input type='hidden' id='bg-show-more-text-69dff2c8874ba0020821563' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c8874ba0020821563' value='Show Less'><button id='bg-showmore-action-69dff2c8874ba0020821563' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c8874ba0020821563' ><\/p>\n<p><strong>A\/D converters, supporting pure DSD256<br \/>\n<\/strong><\/p>\n<ul>\n<li>Playbackdesign Pinot ADC<\/li>\n<li>RME ADI-2 Pro FS R BE<\/li>\n<li>Ayre QA-9 pro<\/li>\n<li>(Mytek Brooklyn ADC) vintage<\/li>\n<li>Merging Anubis Premium, Horus or Hapi + I\/O card<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><strong>Recording software, supporting pure <\/strong><strong>DSD256 <\/strong><\/p>\n<ul>\n<li>Vinyl Studio PRO\u00a0\u00a0 US$ 49.95<br \/>\nWin and Mac. Excellent for vinyl ripping!<\/li>\n<li>Playbackdesign Sonoma Recorder\u00a0<strong> free<\/strong><br \/>\nNeeds ADCs ASIO drivers on Windows. Does not work on Mac\/emulations.<\/li>\n<li>HQPlayer Pro\u00a0\u00a0 \u20ac2400 net<br \/>\nAllows <strong>pureDSD postprocessing even with DSD256 and higher<\/strong>, no need for PCM\/DXD conversion!<\/li>\n<li>Pyramix , several variants<\/li>\n<li>Sound it 8 pro\u00a0 199US$<\/li>\n<\/ul>\n<p><\/div>\n<p>&nbsp;<\/p>\n<p><strong>ANNEX 4<\/strong><\/p>\n<p><strong>Suggested Workflow for pure DSD256 Recording and Post-Processing<br \/>\n<input type='hidden' bg_collapse_expand='69dff2c8877c93057631815' value='69dff2c8877c93057631815'><input type='hidden' id='bg-show-more-text-69dff2c8877c93057631815' value='Show More'><input type='hidden' id='bg-show-less-text-69dff2c8877c93057631815' value='Show Less'><button id='bg-showmore-action-69dff2c8877c93057631815' class='bg-showmore-plg-button bg-orange-button  '   style=\" color:#4a4949;\">Show More<\/button><div id='bg-showmore-hidden-69dff2c8877c93057631815' ><\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-7985\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/DSD-Workflow-3_1-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/DSD-Workflow-3_1-scaled.jpg 2560w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/DSD-Workflow-3_1-scaled-920x518.jpg 920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><strong><\/div><\/strong><\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\"><strong>To enroll to the contest, <\/strong><\/p>\n<p style=\"text-align: center;\"><strong><a href=\"mailto: info@LINKWITZ.audio\">start by <\/a><a href=\"mailto:info@magicLX521.com ?SUBJECT=Application for LINKWITZ Minimal Microphoning Contest 2025&amp;BODY=Dear Linkwitz Team, your competition found my interest and I would like to enroll as participant. My name, address, email, phone nr_______. I m studying\/I studied ________ at ________school\/institute\/university, and plan to submit my documents and files by (date)_________Thanks a lot!\" target=\"_blank\" rel=\"noopener\">contacting us via email<\/a> <\/strong><\/p>\n<p style=\"text-align: center;\"><strong>providing your address and contact details.<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Partners:<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><a href=\"https:\/\/www.alpinesoft.co.uk\/VinylStudio\/VinylStudio_pro.aspx\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8175 size-thumbnail\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Vinylstudio-150x35.png\" alt=\"\" width=\"150\" height=\"35\" \/><\/a><\/p>\n<p><a href=\"https:\/\/www.dougfearn.com\/\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8165\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/DWFEARN.png\" alt=\"\" width=\"150\" height=\"30\" \/><\/a><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7520 size-thumbnail\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2023\/09\/LINKWITZ-audio-150x150.png\" alt=\"\" width=\"150\" height=\"150\" \/><\/p>\n<p>&nbsp;<\/p>\n<p><strong><a href=\"https:\/\/www.nativedsd.com\/product-tag\/one-microphone-recording\/\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8046\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/NativeDSD-Music-logo.jpeg\" alt=\"\" width=\"150\" height=\"29\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/NativeDSD-Music-logo.jpeg 640w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/NativeDSD-Music-logo-300x58.jpeg 300w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/NativeDSD-Music-logo-620x123.jpeg 620w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a><\/strong><\/p>\n<p><a href=\"https:\/\/signalyst.com\/hqplayer-4-pro\/\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8177\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/signalyst-1.jpg\" alt=\"\" width=\"150\" height=\"57\" \/><\/a><\/p>\n<p><a href=\"https:\/\/soundliaison.com\/pages\/one-mic\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7952\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Sound-Liaison-300x161-1.jpg\" alt=\"\" width=\"150\" height=\"80\" srcset=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Sound-Liaison-300x161-1.jpg 300w, https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/Sound-Liaison.jpg 470w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-7954\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/sr-logo-white-background.tiff\" alt=\"\" width=\"1\" height=\"1\" \/><a href=\"https:\/\/www.soundkeeperrecordings.com\/\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-7956\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/sr-logo-white-background-300x144.jpg\" alt=\"\" width=\"150\" height=\"72\" \/><\/a><\/p>\n<p style=\"text-align: center;\">Tom Caulfield,<br \/>\nsound engineer<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-8173 size-thumbnail\" src=\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/08\/tom-caulfield-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Music capturing\u00a0and\u00a0loudspeaker playback represent the most critical conversion processes within the context of a modern musical chain. Siegfried Linkwitz took extraordinary care in handling the loudspeaker playback side. Particularly by reducing spatial distortion, when rendering with full-range dipoles. On the music capturing side, we aim to highlight a technique, that can deliver very natural and [&hellip;]<\/p>\n","protected":false},"author":7193,"featured_media":8907,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1,234],"tags":[442,443,456,278,428,444,445,458,586,447,448,455,446,449,450,454,451,453,452],"class_list":["post-7916","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","category-whats-new","tag-contest","tag-dsd-recording","tag-dsd256","tag-linkwitz","tag-minimal-microphoning","tag-minimal-microphoning-medal","tag-one-mic","tag-one-mic-recording","tag-onemic","tag-recording-contest","tag-recording-engineer","tag-recording-engineer-education","tag-recordings","tag-single-mic","tag-sound-engineer","tag-sound-engineer-education","tag-student","tag-student-sound-engineer","tag-young"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - 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