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PART ONE: THE MUSIC
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| 1 |
–Ana Caram |
AfricandoWritten-By – Lula Barbosa, Wismar Rabello |
3:44
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| 2 |
–Livingston Taylor |
Out Of This WorldWritten-By – Livingston Taylor, Maggie Taylor |
2:41
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| 3 |
–Leny Andrade |
WaveWritten-By – Antonio Carlos Jobim |
5:51
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| 4 |
–The Connecticut Early Music Festival Ensemble |
Winter (The Four Seasons)Written-By – Antonio Vivaldi |
3:27
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| 5 |
–Rebecca Pidgeon |
GrandmotherWritten-By – Rebecca Pidgeon |
6:26
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| 6 |
–Orquestra Nova |
Battery ParkWritten-By – Carlos Franzetti |
5:09
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| 7 |
–Laverne Butler* |
I Cover The WaterfrontWritten-By – Ed Hayman*, John Green* |
6:07
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| 8 |
–Sara K. |
Horse I Used To RideWritten-By – Sara K. |
4:26
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| 9 |
–The Fred Hersch Trio |
Con AlmaWritten-By – Dizzy Gillespie |
5:57
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| 10 |
–Badi Assad |
Num Pagode Em PlanaltinaWritten-By – Marco Pereira |
4:41
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| 11 |
–Westminster Choir |
Ave Verum CorpusWritten-By – Mozart* |
3:38
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PART TWO: AUDIO DEMONSTRATIONS AND TECHNICAL TESTS
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12 - 23 A GUIDED TOUR THROUGH THE AUDIOPHILE WORLD
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| 12 |
–John Henry |
Announcement/Artificial Stereo Demonstration |
1:26
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13 - 20 Microphone Technique
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| 13 |
–No Artist |
Mono Mike |
0:34
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| 14 |
–No Artist |
Artificial Stereo |
0:34
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| 15 |
–No Artist |
XY Cardioid Technique |
0:34
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| 16 |
–No Artist |
XY And Added Ambience |
0:34
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| 17 |
–No Artist |
XY With Increased Ambience |
0:34
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| 18 |
–No Artist |
Crossed Figure 8's |
0:34
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| 19 |
–No Artist |
Spaced Pair Of Omnis |
0:34
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| 20 |
–No Artist |
Three Spaced Omnis |
0:34
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21 - 23 Instrument Placement
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| 21 |
–John Henry |
Announcement |
0:15
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| 22 |
–No Artist |
Piano Against The Wall Of The Studio |
0:18
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| 23 |
–No Artist |
Piano In The Middle Of The Studio |
0:18
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24 - 27 Natural Vs. Artificial Space
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| 24 |
–John Henry |
Announcement |
0:24
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| 25 |
–No Artist |
Drum Set Recorded In A Dry Studio |
0:44
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| 26 |
–No Artist |
Drum Set In A Live Studio |
0:36
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| 27 |
–No Artist |
Drum Set With Artificial Reverberation |
0:45
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28 - 29 Natural Vs. Artificial Imaging
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| 28 |
–No Artist |
Natural Stereo Imaging |
1:44
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| 29 |
–No Artist |
Artificial Stereo Imaging |
1:28
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30 - 32 Natural Vs. Compressed Dynamics
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| 30 |
–John Henry |
Introduction To Compressors |
0:58
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| 31 |
–No Artist |
Jazz Group With Compression |
0:13
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| 32 |
–No Artist |
Jazz Group Without Compression |
0:15
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| 33 |
–No Artist |
New 20-bit High-Resolution Technology |
2:04
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34 - 45 TECHNICAL TESTS AND DEMONSTRATIONS
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34 - 35 Dirty Vs. Clean Power
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| 34 |
–No Artist |
Violin Recorded With "Dirty" Power |
0:24
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| 35 |
–No Artist |
Violin Recorded With "Clean" Power |
0:24
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36 - 37 Digital Vs. Analog Tape
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| 36 |
–No Artist |
20-bit, All Digital Recording |
0:44
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| 37 |
–No Artist |
20-bit Recording Made From Analog Tape |
0:44
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| 38 |
–No Artist |
Equipment And Cable Burn-In Signal |
1:07
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| 39 |
–No Artist |
Volume Level Warning |
0:09
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40 - 41 16 Bit Vs. 20 Bit A/D
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| 40 |
–No Artist |
Music At -30dB Into 16 Bit System |
0:45
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| 41 |
–No Artist |
Music At -30dB Into 20 Bit With High Resolution Dither |
0:41
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42 - 44 Fade To Noise (Low Level Resolution) Tests
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| 42 |
–No Artist |
Fade To Noise, No Dither |
0:19
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| 43 |
–No Artist |
Fade To Noise, Flat Dither |
0:30
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| 44 |
–No Artist |
Fade To Noise, High Resolution Dither |
0:30
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| 45 |
–No Artist |
Volume Level Warning |
0:06
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Recorded using the 128x oversampling A to D Mark III and Mark IV converters with ultra analog modules and vacuum tube equipment built by George Kaye. Track 9 is recorded using new 20-bit high-resolution technology.