MA on SA / SACD Sampler (SACD/HYBRID/DSD/미개봉)

너무나 훌륭한 선곡과 음질의 SACD!!!

108분이 넘는 SACD레이어와 73분이 넘는 일반CD레이어로 총 3시간이 넘는 MA 레코딩의 훌륭한 곡을 꽉 눌러 담았지만 겹치는 곡은 없다.(단, SACD레이어에 들어있는 곡들은 SACD플레이어에서만 인식!!) 선곡 또한 훌륭해 누가 들어도 귀에 들어오는 어렵지 않은 컬러플한 훌륭한 곡을 담았고 재즈, 클래식, 월드뮤직 등 다양한 음악을 들을 수 있으며 기타, 색소폰, 류트, 보컬, 피아노, 타악기 등 각종 악기의 독특한 음색을 즐길 수 있다.

너무나 명료한 음질에 놀라지 않을 수 없는데 원포인트 레코딩의 진수를 들려주며 몇몇 곡은 Crystal Cable을 사용해 녹음되어 더욱 해상도 높고 명징한 울림을 들려준다.

선명한, 깔끔함, 투명함 등의 단어가 이 음반의 음질을 특징짓는 가장 적절한 표현이 아닌가 싶다. MA 레코딩이 어렵다고 생각하시는 분들이 있으리라 생각된다. 그러나 그렇지 않다. 독특함이나 생경함에서 오는 어색함 때문일 것이다. 여기에 담긴 음악은 더욱 쉽고 편안하며 다양한 스펙트럼의 컬러플한 음악을 들려준다.

한 번 들어 보십시오. 빼어난 선곡과 음질에 놀라지 않을 수 없을 것입니다!!!

List

M070A/Gitana, from "llama" by Silvia Perez Cruz & Ravid Goldschmidt: 88.2 kHz

M071A/Improvisation on a Love Song, from "A Night in Budapest" by Kalman Olah and Friends: 88.2 kHz

M071A/Improvisation on a Love Song, from "A Night in Budapest" by Kalman Olah and Friends: 88.2 kHz

M062A/Taquito Militar, from "La Segunda" by Sera Una Noche: 176.4 kHz

M069A/Prelude - Allemande - Sarabande, from Suite en La mineur, by Marin Marais, performed by Andrea De Carlo: 176.4 kHz

M068A/Variaciones sobre el "Carnaval de Venecia" de Niccolo Paganini by F. Tarrega, performed by Gzegorz Krawiez: 96 kHz

M049A/Passos, from "Almas" by Joao Paolo: 96 kHz

M044A/Ajde da li znaes pametis Milice, from "Krushevo" by Vlatko Stefanovski & Miroslav Tadic: 96 kHz

M052A/Malena, from "Sera una Noche" by Sera Una Noche: 96 kHz

M045A/Certeza, from "O Exilio" by Joao Paolo: 96 kHz

M046A/Meu Amor deu um Lenco, from "Senhora da Lapa" by Maria Ana Bobone: 96 kHz

M026A/Murakkaz Ah Ya Muddasin, from "The Splendour of Al Andalus" by Calamus: 96 kHz

M025A/Noche Maravillosa, from "Salterio" by Begona Olavide: 96 kHz

M043A/Terra Da Esperanca Perdida, from "Sete Ondas" by Mauro Refosco: 96 kHz

M058A/Vitamin C, from "Old School" by Peter Epstein: 96 kHz

M029A/Jovano Jovanke, from "Old Country" by Miroslav Tadic & Howard Levy: 96 kHz

M057A/Esquina, from "Esquina" by Joao Paolo & Peter Epstein: 96 kHz

M047A/Solace from "Solus" by Peter Epstein: 96 kHz

Chopin's Berceuse, performed by Gabriella Kafer at Belvarosi Szent Mihaly Templom, Budapest: 88.2 kHz (no release date for this recording)

Finally, the third MA Sampler is a reality!

However, it is not just any sampler, it is an SACD sampler and since I had been informed that it was possible to put 1 hour and 49 minutes of DSD Stereo on a single SACD disc, as well as 74 minutes on the CD layer, in addition to the fact that I wanted to test the "SACD waters", I decided to attempt history by producing the first 3 hour music disc!


We introduced "MAonSA" at the 2006 Consumer Electronics Show in Las Vegas and I was pleasantly surprised to hear from the attendees that I spoke to that many of them own SACD capable players. I suppose that some listeners do not know however, that a number of the (perhaps less expensive) Universal players, while they do play SACD, do not actually output DSD sound as the DSD signal is first converted to high-sampled PCM before being output in the analog domain. Sound like a farce? With THAT in mind, should MA have released a DVD-Audio sampler? Well, since SACD is much more popular than DVD-A, we are sort of stuck, I guess. But, it still is true that the dedicated, truly HI-END SACD players really do output pure DSD sound.

In any case, I thought that, if the SACD format sounded as good as many people think it does, that there should be enough listeners out there that may want to hear MA in a supposedly "better sounding format" than normal Redbook CD. There could also be some people out there not yet aware of MA, but who may develop interest because of this sampler. So, rather than just release a single album in the SACD format, I thought that the sampler would be the way to go and I would hear from many of you as to your thoughts on the music, the quality of this disc, etc. AND, I thought the novelty of being more than three hours long, would be enticing as well.

I should perhaps convey however, what I feel has "happened" to the newly remastered music on the SACD layer of this disc. As far as my aging ears can tell, the music is expressed more delicately, with increased transparency and finesse. The low end is still there, while the presentation is more elegant. There are little things which I noticed for the first time upon listening to this SACD. This is encouraging, to say the least. Of course, the presentation will vary, depending on the machine on which it is heard, as well as the other audio components. I first auditioned this disc on an EMM Labs/Ed Meitner modified Philips 1000 Universal player which does output true DSD sonics, with STAX 404 headphones and a discontinued vacuum tube driver unit.

I have to admit that since the original recordings were all done in the PCM format, this is not a true representation of pure DSD sound. We did however, use what we think is the best gear available, including a DCS 974 Digital to Digital converter, the Rolls Royce (both being from the UK!) of conversion and digital audio in general. We used a SADIE Digital Audio Work Station (also from the UK) which both I and mastering engineer Atsuo Fujita feel does little if anything to alter the original sonics of the master source and is therefore the best out there. We were also blessed with the full cooperation of Gabi van der Kley, the brains behind and owner of CYRSTAL CABLE in The Netherlands. She sent us handcrafted, digital cables to enable us to transfer data from the original master recorders, such as the "D-07A" 96 kHz Pioneer DAT and/or Fostex DV40 DVD-Ram Recorder, thru the DCS 974 and into the SADIE. Of paramount importance to us was the Stereo BNC to 25 D-SUB connector cable linking the DCS 974 to the SADIE. Unfortunately, digital audio workstations can be rather large and there is not much room to include true BNC connections on the rear panels; therefore the less than perfect 25 D-SUB connection. All computer workstations, are supplied with, at best, cabling that leaves much to be desired. We, on the other hand, had CRYSTAL! In any case, we went for "quality" throughout, using the best cables and the best gear we could get our hands on. I should emphasize that the "elegance" in the presentation of the music is very likely due to our use of CRYSTAL CABLE throughout the preparation of this disc.

As for the tracks themselves, I have chosen not to write here in detail about each one, there being 32 complete tracks in total! Rather, the listener will find all the info she or he needs on the MA site, including all the covers, as well as data, etc. If there are any of you out there who require more information and input from us, please feel free to inquire via:

info@marecordings.com
The microphones shown on the cover of this disc, designed and hand constructed by Japanese audiophile and designer Junichi Yonetani, are unique to MA Recordings. Mr. Yonetani has been, over the years, a very enthusiastic supporter of MA, for which I thank him dearly.

The microphones are DC powered, running on four 9 volt batteries. Differentiating them from the common, low level, phantom power variety of microphone, they are line level. Traditional low level microphone cables are done away with completely as they are no longer necessary. The outputs of the MA microphones are fed directly to the recording device, or Analog to Digital converter, in the case of digital recording.

Of utmost importance are the diaphragms utilized to capture sound waves. The MA microphones feature the same Bruel and Kjaer diaphragms used in the famous DPA 4003 and DPA 4006 series microphones from Denmark. (www.dpamicrophones.com)

The body of each MA microphone was machined from a solid piece of brass, then plated with rhodium. Each microphone weighs 701 grams with the standard Bruel and Kjaer silver grid. The microphones in the photo are shown with the Bruel and Kjaer "Nose Cone" which may be used in place of the silver grid to render the microphones slightly more omnidirectional in character than with the silver grid.

Being as heavy as they are, the MA microphones require custom made holders, made from steel pipe. In order to make fine adjustments in positioning, the holders are fastened onto miniature balljoints designed for professional photography. The ball joints are in turn, placed on an aluminum ?stereo bar? which is supported by a professional tripod designed for still photography.