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Audio enthusiasts have diverse motivations. Some seek the most „pleasant“ sound, while others indulge in nostalgia, cherishing vintage gear, others prefer bombastic effects of home cinema soundtracks.<\/p>\n
Siegfried Linkwitz, audio pioneer and co-inventor of the Linkwitz -Riley crossover was a long-time subscriber to the San Francisco Symphony. He always aimed to experience their recordings in the most authentic way at home, focusing on reducing tonal and spatial distortions that distract from the musical event.<\/p>\n
So, for Siegfried Linkwitz, loudspeakers had an absolute reference when evaluating their performance: The live event! Furthermore, he was aware that a sensible chain starts with the proper recording technique. https:\/\/www.linkwitzlab.com\/Recording\/AS_creation.htm<\/a><\/p>\n An excellent example of such a recording-replay chain makes use of the synergies that come into play when minimal micing (one-mic) is paired with a dipole playback (Linkwitz LX521<\/a>). In between transfer (and archiving) of the music happens in quasi-analog DSD256 (=Quad-DSD) format.<\/p>\n The goal of authentic sound reproduction was recently discussed in TheAbsoluteSound by Tom Martin:\u201d What Problem Are We Trying To Solve?…six major (above threshold) problems with music reproduction that stand in the way of believability\u201d https:\/\/www.theabsolutesound.com\/articles\/best-dacs-search-berkeley-alpha-dac-reference-series-3-review\/<\/a><\/p>\n We heard the live performance vs. the rendered recording over LX521.4MG in the Hilversum Studio of Sound Liaison<\/a> record label. <\/p>\n <\/p>\n On a crisp autumn day in Hilversum, the Sound Liaison studio hosted a unique recording event. The focus was on capturing the purest essence of a live performance using a minimalist approach: a single microphone array. The artists for this session were the renowned Peter Bj\u00f8rnild on double bass and Iman Spaargaren on sax\/clarinet. Their synergy and musicality promised an engaging auditory experience. The goal was to achieve a 1:1 reproduction of the original event, leveraging the one-mic technique, DSD256 digital format, and the holographic LINKWITZ LX521.4MG dipole speakers. This report delves into the intricacies of the recording process, the technical choices made, and the resulting high-fidelity reproduction that brought the live event to life in stunning detail.<\/p>\n <\/p>\n The One-Mic Technique<\/strong><\/p>\n The one-mic technique is a purist’s approach to recording, aiming to capture the natural balance and spatial characteristics of a performance. By using a single, high-quality microphone array, the recording preserves the integrity of the sound stage, avoiding the phase issues and artificiality that can arise from multi-mic setups. For this session, a Josephson C700S was chosen for its renowned clarity and sensitivity, positioned strategically to capture both instruments in their natural acoustic environment.<\/p>\n <\/p>\n DSD256 Digital Format<\/strong><\/p>\n Digital recording formats play an important role in preserving the fidelity of the captured sound. For this session, the choice was DSD256, a high-resolution format known for its ability to reproduce audio with exceptional detail and accuracy. Higher rate DSD (e.g., DSD256) has come of age, and many older misconceptions found on the internet about SACD and DSD64 are now outdated. DSD256 doesn\u00b4t involve quantization issues, sample rate conversion, and other artifacts. DSD256 may offer an analog-like sound, maintaining the warmth and depth of the original performance. Today, postproduction of DSD is possible, even in Quad-DSD256 (11.2MHz) format, without needing (lossy) conversion steps to\/from PCM. The decision for DSD256 ensured that the recording remained as true as possible to the source, from capture to playback. Furthermore, DSD256 files can be stored, copied, and archived without the unavoidable degradation and aging of analog master tape.<\/p>\n <\/p>\n The Recording Session<\/strong><\/p>\n The recording session took place in Sound Liaison’s acoustically treated studio, designed to provide an optimal environment for capturing live performances. Peter Bj\u00f8rnild and Iman Spaargaren were positioned to achieve a natural balance, with the Josephson C700S placed strategically to capture the full spectrum of their sound. The musicians performed several pieces, including intricate jazz improvisations, each showcasing their dynamic range and expressive capabilities.<\/p>\n Details have to be addressed by the recording engineer, <\/p>\n <\/p>\n Throughout the session, the focus was on maintaining the purity of the sound. The signal chain was kept as simple as possible, with the microphone feeding directly into a high-quality preamp and then into the DSD256 recorder. This minimalist approach minimized the potential for signal degradation, ensuring that the recording captured the true essence of the performance.<\/p>\n <\/p>\n Playback on LINKWITZ LX521.4MG Dipoles<\/strong><\/p>\n The final step in the process was the playback of the recording on the holographic LINKWITZ LX521.4MG dipole speakers. These speakers are renowned for their ability to reproduce sound with remarkable accuracy and spatial realism. Their dipole design and advanced driver technology allow them to create a three-dimensional soundstage, making them an ideal choice for evaluating the fidelity of the recording.<\/p>\n During playback, the recording revealed its true potential. The one-mic technique captured the natural interplay between the double bass and sax\/clarinet, preserving the nuances of their performance. The recording format ensured that every detail was rendered with stunning clarity, from the subtle overtones of the double bass to the breathy nuances of the saxophone and clarinet. The LINKWITZ LX521.4MG speakers brought the recording to life, creating an immersive listening experience that faithfully reproduced the live event.<\/p>\n <\/p>\n <\/p>\n Holistic Approach to Music Capturing and Reproduction<\/strong><\/p>\n This recording session exemplified the holistic approach to music capturing and reproduction, where every aspect counts. From the minimalistic microphoning with the Josephson C700S to the analog-like DSD256 format for storage and transport, each step was carefully considered, preserving the integrity of the performance. The final rendering on the holographic LX521.4MG dipole speakers ensured that the recording was reproduced with the highest fidelity, capturing the essence of the live event in all its dimensions.<\/p>\n <\/p>\n 3D Sound Staging and High-Fidelity Reproduction<\/strong><\/p>\n One of the most impressive aspects of the recording was its ability to recreate the three-dimensional sound stage of the live performance. The one-mic technique, combined with the DSD256 format and the holographic LINKWITZ LX521.4MG speakers, allowed listeners to experience the spatial relationships between the instruments as if they were present in the studio. The depth and width of the sound stage were preserved, providing a sense of immersion that is often lost in multi-mic recordings.<\/p>\n The high-fidelity reproduction extended beyond the spatial characteristics. The tonal balance and dynamic range of the recording were exceptional, capturing the full spectrum of the duo’s performance. The double bass had a rich, resonant quality, while the saxophone and clarinet were rendered with a natural warmth and clarity. The recording also preserved the subtle details of the performance, such as the ambient sounds of the studio and the expressive nuances of the musicians‘ playing.<\/p>\n <\/p>\n Conclusion<\/strong><\/p>\n The test recording event at Sound Liaison Hilversum demonstrated the potential of the one-mic technique, DSD256 digital format and LX521.4MG dipole speakers to achieve a high-fidelity reproduction of a live performance. By capturing the natural balance and spatial characteristics of the double bass and sax\/clarinet duo, the recording provided a 1:1 reproduction of the original event. The recording format ensured that every detail was preserved with exceptional clarity, while the holographic LINKWITZ LX521.4MG speakers brought the recording to life with their remarkable accuracy and spatial realism. This session highlighted the importance of simplicity and purity in the recording, post-processing and rendering process, offering a compelling example of how high-fidelity audio can transport listeners to the heart of a live performance.<\/p>\n <\/p>\n Download sample files from this recording event in DSD or conventional PCM format from Soundliaisons website<\/a>.<\/p>\n Find more pureDSD recordings on nativeDSD<\/a> website.<\/p>\n
\nCould Tom Martins \u201csix problems\u201d be addressed ?
\nCould Siegfried Linkwitz\u00b4 tonal and special distractors be tamed?<\/p>\n![\"\"](\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/12\/IMG_9454.jpg\")
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\nassuring the proper sound balance is captured by the microphone.
\nHere you see the initial setup, that was swapped for final recording.
\n(In the example files double bass is on the left)<\/p>\n![\"\"](\"https:\/\/linkwitz.store\/wp-content\/uploads\/2024\/12\/IMG_9450-1-scaled.jpg\")
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