#24bit-96kHz

[k-i-l-l-e-r-b-e-e-6-9]

The Beatles - Something

[bowieography]

DAVID BOWIE - ZIGGY STARDUST AND THE SPIDERS FROM MARS - THE MOTION PICTURE - 50th ANNIVERSARY

THE LEGENDARY LAST EVER ZIGGY STARDUST SHOW IS TO BE MADE AVAILABLE IN FULL FOR THE FIRST TIME DIGITALLY RESTORED WITH REMASTERED AUDIO

Hang On To Yourself

Ziggy Stardust

Watch That Man

Wild Eyed Boy From Freecloud

All The Young Dudes

Oh! You Pretty Things

Moonage Daydream

Changes

Space Oddity

My Death

Cracked Actor

Time

The Width Of A Circle

Let's Spend the Night Together

Suffragette City

White Light/White Heat

Medley: The Jean Genie / Love Me Do / The Jean Genie (feat. Jeff Beck)

Round And Round (feat. Jeff Beck)

Farewell Speech

Rock 'n' Roll Suicide

2CD & BLU-RAY, 2CD, 2LP LIMITED EDITION GOLD VINYL SET AND DIGITAL (STANDARD 44.1KHZ/16BIT AND 96KHZ/24BIT)

RELEASED 11TH AUGUST AVAILABLE FOR PRE-ORDER NOW

https://lnk.to/DB-ZS

[orangameelectronics]

Power up on the go with The 15W 10000mAh Mini Portable Magnetic Wireless Power Bank

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[audiostim]

A Tri-Phase bassline album.

Produced and mastered in 96Khz 24Bit.

High quality .WAV files available for download.

[elle-p]

Persona 3 Original Soundtrack disc 2 comments scan and transcription.

COMMENT DISC 2

01 - Changing Seasons

校内の2学期の曲。オープニングムービー2にも使われているこの曲。開発初期のデモとして作った曲で、ペルソナ3のサウンドイメージ ＝ この曲、といった感じの曲です。この曲もボーカル部分はサンプリングCDか���切り出して、単音部分のピッチを動かして歌わせてそれにプラスコーラスを重ねています。モノローグの声はフランス語ですかね？

02 - Basement

作戦行動中に流れる曲。後半のソロストリングスは最近買った某サンプリング音源で、バイオリンはなかなか良い音してます。

03 - Master of Tartarus

タルタロス中で出現する中ボスの曲。こちらも『Master of Shadow』と同様に元はフィールドと対になっていた曲です。対になっていた フィールド曲は『Changing Seasons 』です。bpmも調も同じなんですね～。サビの部分は川村ゆみさんにアドリブでスキャットしてもらい、そこにディレイをフィードバックさせて混 沌とした雰囲気を出してみました。

04 - これでいいんだ···

荒垣の例のあのシーンの曲、いや、あまり詳しく書いちゃマズいですよね。

05 - Living With Determination

悲しいシーンで流れる曲。悲しい曲は実は25時 (The Voice Someone Calls) で使われているピアノのモチーフを具体化さ せたメロディとなっています。毎プロジェクトでこういった悲しいシーンは見せ場となるので作曲するのには苦労します。

06 - tartarus_0d04

07 - 京都

京都の修学旅行で流れる曲。一応全曲収録CDのためこんな曲まで収録しましたが···、これって環境音楽の類じゃないんですかね？

08 - Afternoon Break

昼休みに放課後の誘いを受けるときに流れる曲で、『Joy』 のアレンジとなっています。コミュイベントで喜びを表現した曲が1つだ と何度も同じ曲が続いてしまうことがあるのでバリエーション違いということで、開発終盤に急遽作った記憶があります。後半のギ ターソロはちょっと60年代の雰囲気のある音色を狙いました。

09 - 時価ネットたなか

ペルソナ3では内輪ウケのネタは避けようという暗黙の (?) コンセプトがあったのですが、シリーズものでサトミタダシ的なものは外せないよなぁということで時価ネットたなかが作られました。「ヒットポイン トー」��どはじけた内容はちょっと作風に合わないのでやや抑え気味のテンションで。実は某無線のBGMっぽい？一応この手の曲ではお約束となった歌手選定、今回は企画の高屋雅英 (ライドウ担当だったのですが···) に歌ってもらいました。

10 - tartarus_0d05

11 - 10年前の記憶

綾時君とアイギスが対峙するシーンで流れる曲。個人的なことで申し訳ないですが、アイギスの足首、あんまりかわいくない···。

12 - Mistic

神秘的な雰囲気など重要なシーンで流れるこの曲は、タルタロスでも使われているメロディを使っています。このメロディはペルソナ3の重要なモチーフで、オープニングテーマが表だとするとこの曲は裏の重要な主題を表現しているものですね。ニュクスのテーマということでしょうか。

13 - 心の力

この曲も『Mistic』にとても近い雰囲気の曲ですね。

14 - 街の記憶

ディレクター橋野からの要望で新年明けたら全体を暗く悲しい雰囲気にして欲しいとのことで、街の曲も大胆にものすごく悲しい曲にしました。実はこの曲は悲しいシーンのバリエーション違いで用意していたメロディで、ちょっと狙いすぎていた部分もあったので使いどころに苦慮していたのですが街の曲へ変更。新年明けていきなり街でこの曲はすごく雰囲気変えますよね。

15 - 学園の記憶

学校の3学期の曲。新年明けてから雰囲気を変える一環としてこういった曲にしています。メロディにエンディング曲のものを使い終わりが近いことを示唆しています。

16 - Living With Determination -巌戸台分寮アレンジ-

寮の3学期の曲。こちらは『Living With Determination』の悲しいシーンのメロディを使ってアレンジしています。3学期はどこに行っても暗い曲ばかりですね。

17 - tartarus_0d06

18 - 暗闇より出でしもの

ボスとの戦いの前で流れる曲。ペルソナ3はわりとボス前イベントがあっさりしていて早く終わってしまうので、曲も初めに作ったものよりもイントロを短くして早めにメロディが始まるように作りました。真女神転生3ノクターンでは印象的な「デデデン！デデデン！」という曲を作ってしまったがために、あれを越えた曲を作らなければという意識がかなりプレッシャーとなりました。長いことシリーズ物の音楽を担当すると似たようなシーンでも前作より良い曲を書かなければというプレッシャーが強く、これが結構辛いところです···。

19 - 全ての人の魂の戦い

やたらと長いラスボス戦、曲も長めで華々しいやつをということでいつものノリでこんな曲を作りました。最後のサビのメロディですが、女神異聞録のころからなぜか3回繰り返すんですよね。いや、私がそう決めたんですが···。

20 - Nyx

ニュクスが降りてくるシーンの曲。劇場版アニメ���盛り上がりどころで流れてきそうなこの曲、ちょっといかにもな作り方ですが世界の終わりが近づいている雰囲気が出ていて良いのではないでしょうか。

21 - 決意

ベルベットルームの最上階を出てニュクスへ向かう主人公、ここで『Mistic』のストリングスだけのアレンジになります。このメロディはトップの音だけ聞くと単純なメロディですが、メロディ全体が和音で動いて いて、内声もトップと平行進行ではなく色々と絡み合って出来ています。なのでバイオリンのトップの音ではなく、例えばチェロの音を聞くとまた違ったメロディに聞こえてくると思います。

22 - Burn My Dread -Last Battle-

オープニングのアニメシーンで主人公のヘッドホンから漏れ聞こえてきていた曲がこの曲です。最後の戦いは印象的な曲で、ということでこの曲になったのですが実は初期段階で はオープニングのシーンでもっとこの曲をフィーチャーするつもりでしたが絵との兼ね合いで曲は少々抑えた演出となりここにきて最後で大きく流れるようになりました。

23 - 絆

卒業式のシーンで流れる曲。忘れていた記憶がよみがえった瞬間の未来が開けていくようなイメージでオープニングテーマのメロディをアレンジしました。

24 - 私が守るから

スタッフロール前のアニメシーン。エンディング周りのイベントシーンは毎プロジェクトそうなのですが今回も試行錯誤を繰り返しかなり時間をかけて練り上げました。

25 - キミの記憶

この曲はエンディングテーマでもありペルソナ3のイメージソングのようなもののつもりで書きました。弊社の小森の作った詞が素晴らしい。エンディング周りのテストプレイで聴いてるとちょっと泣けてくるのは詞が物語と凄くシンクロしてるからではないかと思います。最後の曲は先代の「君のとなり」の感動を凌ぐものを、という意気込みで作ったのですが、出来は皆さんの評価に任せるとして詞には凄く助けられたと思います。

26 - Blues in Velvet Room

最近オレの人のよさを見透かされてる気がする···。まさか社外の人 にまで！サントラの売りになるボーナストラックが欲しいとアニプレックスの足立さんが···。期間的に無理だと答えた後の長い沈黙と煮詰まる会議に耐えきれず、「簡単なアレンジもので一発録りならできますよ」と言ってしまいました。宇田にも手伝ってもらったりして、色々ゴメンね、宇田。曲の方はマスタリング終了間際に作ってたので演 奏がへろへろで申し訳ないのですがご容赦ください。ライブっぽい 危うさが出てるでしょ？

ちなみにマニアックな事を言うと······、Fenderの'73Stratocaster をMar-shallのJTM60に直刺し、ピックアッ ブはフロントでアンプはややゲインを持ち上げた程度のセッティングで弾いています。録音はギターアンプにSM58アンビエンス用にステレオマイクを離して配置、計3本のマイクをマイクアンプを経由しPro-ToolsHDへ24bit、96kHzで3ch同時録音、ミックスダウン後に48kHzに落としマスタリングへ持っていっています。

[angelspitofficial]

DIGITAL DROPS MONDAY - ANGELSPIT'S NEW ALBUM "THE BASTARD GODS" Download the 13 tracks as high quality MP3s or 96kHz/24bit WAV files. The digital booklet is packed with cyber-grunge art plus lyrics to all tracks. Stunning cover art by En Tze Loh.

[onetwofeb]

Listen/purchase: Chimaera (24bit Hi-Res 96khz) by SYLVIE COURVOISIER feat. Wadada Leo Smith, Christian Fennesz, D. Gress, N. Wooley, K. Wollesen

[estimaudio]

We have a new album out! Hooray!

Another hardware produced album, this time on another hardware synth as the E-Stim Audio - Knobs and Wires album which will definitely get a sequel.

This time it features 10 different sorts of rowdy evolving and automated parameter basslines. So tracks evolve during playback with filters, cut-off sub oscillators, high frequencies, phasers you name it.

This album is fully Tri-Phase and or stereo and it was produced and mastered in 96Khz 24Bit

If you like our work please consider taking out a subscription which entitles you to get all of our music for the next year in the most in cheapest way possible that is to acquire all of our content (music and software), through high quality (96Khz 24Bit wav) download, but also other formats are supported like (Flac, Mp3 etc) and this also gives you instant access through the Bandcamp app etc.

credits

released October 26, 2023

license

all rights reserved

[dj-deaf]

09. Dire Straits - Brothers In Arms 1985 FHD 24bit/96kHz LPCM 2 [Audio Only]

[firefield]

*REVIEW*

David Bowie - Divine Symmetry (2022)

A Journey To Hunky Dory

The subtitle to this project is perfect, and listening through this 5+ hour set you really do get the sense of DB really going for something he's got fixed in his mind and heart - he just needs to shape and trim and mine all these great songs and find that final form. I tell you something - once you work through all this - all the roughness, the humor, the nervousness and charm; once you finally get to that 2021 new mix of Bewlay Brothers, with all its layers of complexity, intrigue and intricate skill, it's impossible not to marvel at the path he's cut through the jungle. It feels like a Fitzcarraldoian feat.

"After the struggle of The Man Who Sold The World, Hunky Dory was the album where I said yes, I understand what l've got to do now." - DB

The sequencing of this beautifully made box set is very well considered. The first CD is called "The songwriting demos plus" and it's filled with unheard and unreleased material - Haddon Hall demos with Bowie's new piano gift from the neighbor, hotel recordings in San Francisco to small groups of friends and journalists on the floor, DB jamming and improvising, and even scratchy acetate dubs that I cannot believe survived to even find their way here.

The second CD is "David Bowie and Friends" -

John Peel on the BBC, and it's a relatively nervous DB buoyed by his buddies and working out the kinks as Hunky Dory starts to take shape.

The third CD is more live work a few months later, also for the BBC; Sounds Of The 70's: Bob Harris, and then the previously well-booted Live Friars, Aylesbury from late September, '71 - all performed with new confidence and swagger.

The fourth CD is called "Alternative Mixes, singles and versions" the brings us up to the BOWPROMO mixes, all the singles, and the alternative new remixes of the final album stems.

The Blu-Ray ties it all together with the final and original mix of Hunky Dory - the 2015 remaster, in 96kHz/24bit stereo. Then the incredible Divine Symmetry version of Hunky Dory (no 5.1 DTS? boo!) - the new mix of Life On Mars in surround, and closing with the Bob Harris show in jaw-dropping quality.

So let’s get down in the weeds for anyone interested.

DISC ONE - The package opens with Tired Of My Life, a remarkable, mature and haunting composition that stands beautifully on its own, but will send the chills when you hear the chorus - recycled nearly a decade later in an entirely different context - you’ll immediately know it when you hear it. Such a fantastic choice to open with, clearly emphasizing the arching themes of Bowie’s career and the in-and-out-of-time patterns in his work. It’s interesting to me that this track and the similarly-toned Shadow Man hit the cutting room floor for a time. Make of that what you will.

How Lucky You Are follows and is a good example of the impact the piano had on DB’s compositions. It’s a nice song, and I was surprised to hear the bass and drums sounding so good for this kind of demo. The track speaks to his Brel Influences and pub hall sing-song wordless melodies he’ll continue to visit all through the glam years.

Speaking of Shadow Man, wow. Delivered at a faster tempo and a more traditionally earnest and direct fashion, it’s an arresting rear view mirror on the origins of this great song. When you hear it delivered like this it makes sense in the same soup with Quicksand and Bewlay Brothers. As I mentioned, it’s wild to me that DB needed this one to sit and marinate for awhile. I wasn’t fully aware how often DB did this until after he passed, but he always seemed comfortable leaving great songs alone to let their flavor develop until he felt it was their time to be interpreted properly. It’s like he knew the song didn’t have to seduce him, but that he needed to grow into the song and do the seducing himself to make it come alive.

And next up is a fun, very non-Arnold Corns version of Looking For A Friend that I had no idea existed. Just excellent hearing the bass so up front from Ian Ellis.

Also firmly in the “I can’t believe this exists” category is two recordings of David solo and his 12 string in a San Francisco hotel room *jamming* out a long version of Waiting For The Man - the only solo recording of it that exists - and complete with improvisations both vocally and on the guitar. Priceless. Honestly, not being a huge fan of this song and DB’s propensity to want to play it live, I think this is, in fact, my favorite version I’ve ever heard. And then the earliest recorded version we have of one of David’s finest compositions, Quicksand. Some octave differences in the vocal, but basically the version we all know. I’m reminded how grateful I am that sets like this exist if only to preserve this history. Not everyone will care to hear songs like this in their infancy, recorded on basic tape recorders, or they’ll consider it a one-and-done curio to listen to and move on, but it’s worth considering this work from a legacy perspective. Find, clean, present and preserve. It matters. I still can’t get over how young DB was writing songs like this. Extraordinary.

Next up is the incredible King Of The City, solo David in the front room of Haddon Hall. Overdubbing himself on guitar and vocals - backing and doubling himself - working the two tape machines bouncing back and forth between them as he adds new layers. Good Lord. There is a hint of early Motown soul here and it’s wonderfully confident. Finding his own way indeed.

Another David solo multitracked early version of Song For Bob Dylan with DB doing all the vocals, guitars and harmonica. Really nice. David sounds about 50 and playing his heart out for a bus ticket. Amazing.

Next up is a series of nice sounding demos recorded at Radio Luxembourg Studios in London. The relatively silly Right On Mother, a wonderful solo version of Quicksand, a very laid back almost lazy doobified preglam Queen Bitch, the always sincere Kooks, a one take solo recording of Amsterdam with David singing the second and third verses in a menacing lower register, and a super gentle version of Life On Mars, solo, with DB on piano, complete with charming clunkiness, mistakes, and endless charm.

Closing out the disc, another set of “how does this exist” tracks, Changes and Bombers recorded to - get this- 7” acetate - totally fragile, totally noisy and totally solo David on piano. Absolutely unfreaking believable and pure gold.

DISC TWO is mono and stereo presentations of the June 3rd, 1971 John Peel radio show. The band opens with Queen Bitch and Bombers, both haven’t yet found their exuberance; their *teeth* yet, and they lean toward timid and new. That’s not a criticism by the way - just part of the process. You notice an immediate change as they launch into The Supermen, Looking For A Friend, and Almost Grown - played clearly with more swagger and familiarity. Nice to hear nervous David introducing Kooks, and man, what a lovely version. The band is silent, and it’s just DB and his 12-string, singing this less from the upper nasal area, and more from his Letter To Hermione/God Knows I’m Good area of the throat. Really surprised me and sounds perfect in mono.

From here on out it’s a full band affair, multiple vocalists joining in; George Underwood, Dana Gillespie, Geoff MacCormack and Mark Pritchett all taking the lead at various times during Song For Bob Dylan, Andy Warhol and It Ain’t Easy. Other than Kooks, I prefer the stereo to the mono mixes here, but nice to have them both from a legacy/preservation perspective. David’s introduction of his friend Dana before Andy Warhol is very sweet and pretty funny actually. It must warm her heart to hear it today. For what it’s worth, she *nails* her vocal, and it’s no surprise to read he wrote it specifically for her. Another welcome surprise in this box.

DISC THREE contains two more live sets - but both of these are performed after the official Hunky Dory sessions and the confidence of David and the band is palpable. Especially David’s vocals - he makes these songs now feel lived-in. He’s letting timbre and dynamics match the lyric, and everything sounds more effortless and natural. The meticulous craftsmanship is done and now it’s all heart.

Immediately blown away by the sound quality of the Bob Ross session. Apparently a start-the-tape-and-play singular take, David and Mick alone just kill it. The mic they used for David and Mick’s voices is excellent, Bowie’s piano playing has never sounded better, and the balances are just right the whole way through the show. Absolutely loving hearing Mick Ronson’s totally joyful bass playing on Kooks. He just skips all over this thing under David’s guitar - I couldn’t stop smiling. What a talent he was and a blessing for David at this time. The actual broadcast of this performance closed with the next track, a great version of Fill Your Heart, but this box set includes the unaired Amsterdam and Andy Warhol. A note here about Amsterdam: I know this track can be divisive for many fans, but I’d encourage those nonplussed by that track to try again with this performance. It’s solo David and it’s a pretty amazing rendition.

And now the Live Friars, Aylesbury late September show. It’s immediately electric feeling. By all accounts, DB wasn’t thrilled with the small handful of gigs he’d done in ‘71 and was doubting his ability to connect with audiences. It’s one of the reasons why he poured his energy into songwriting and recording. But this show feels and is pretty historic. It starts out acoustic and gradually builds the band behind him and you can absolutely feel him win over the crowd. The story he tells about his difficulties waking up in the morning and what his mother had to do to finally wake him up is appropriately Bowie-bizarre. And then after the encore, with the audience demanding more music, the band goes with Waiting For The Man, only to finish to find demand for *more* songs and DB is tapped out. Trying to tell the crowd they literally have no more songs to play, he had to literally tell them to shut up, and then politely explain that he’s done, spent, got nothing left, but would warmly welcome the chance to write new songs and come back to play them. Beautiful.

This presentation is a tricky piece of audio engineering skill, as the original 1/4” tape suffered from some mangling, bad tape splices, dropouts, etc. Preserving the integrity and continuity of the performance required some pretty wild work done and you will hear those moments. Rather than let them jump out and annoy, see them as puzzle pieces creatively cut and fitted to allow you to take in the whole picture of that moment in time. I can tell you with confidence that the work here is extraordinary.

DISC FOUR is all post HD sessions mixes and singles from the time, along with the 2021 new mixes of select tracks from the final album stems. The disc begins with the 6 track BOWPROMO LP 2022 remaster. These are early and different mixes than ended up on Hunky Dory made for a Gem not-for-sale record that had Bowie on the A-side and Dana Gillespie’s work on the B-side. Some feature entirely different vocals and soundstaging. I suppose many might not hear the differences but they are there. Queen Bitch is wonderfully unhinged in this mix, Kooks’s bass line and strings really stand out nicely, Eight Line Poem’s new vocal, Quicksand has some alternate guitar parts, and Bombers/Andy Warhol Intro (which didn’t make the cut for Hunky Dory) sounds fantastic with that cleanly defined bass and piano. The book also notes pitch and tempo corrections for Kooks and Quicksand. I suspect there are some who don’t know these are different versions and they’ll be pleasantly surprised to hear them.

Lightning Frightening surprised me here, as I am familiar with it only from the mono bonus track on the Ryko 1990 CD of TMWSTW. Here, for the first time is the full-on chugging, twangy, down-and-dirty stereo version. Holy hell. You’ve never heard it like this. Herbie Flowers on bass, Barry Morgan drums, Mark Pritchett guitar, and David blowing lots of sax and harmonica.

Amsterdam was originally set to close Hunky Dory but was bumped for The Bewlay Brothers. It was also set to close side A of Ziggy Stardust on the first pass master tape and was dropped there too - getting it’s first official release as the B-side to the Pin Ups single “Sorrow.” This first early mix is David solo with a one-pass vocal performance and triple layered 12-string guitars. Whoa. The second mix here later on the disc is the mix used for the Sorrow B-side - the 2015 remaster from the Five Years box. Changes mono single, also from the Five Years box. And then holy smokes my favorite version of Andy Warhol I’ve ever heard. I’ve always loved the mono version of this track, and here it gets a new 2022 remaster. This is a turn-it-up-to-11 track for me. Fantastic.

Next up is the wonderful stripped back 2016 Ken Scott mix of Life On Mars made for inclusion on the David Bowie - Legacy compilation album. Most of you would have heard this, but what I didn’t know was that David and Ken discussed making this new mix as far back as 1998. During this same session on April 12, 2016, the surround sound mix was completed at Abbey Road and appears on the final Blu-Ray disc in the set.

Closing up disc 4 are the new 2021 mixes - so excited to finally wrap my ears around them. For Changes, Ken is working from the masters, take number eight here, and he notes that he heard many unheard/unused parts on that take that he wanted to bring up in the mix, including a new sax solo from David. His aim here was to give Changes a contemporary modern mix feel. Headphones recommended on all these new mixes, and if you are like me and have heard the originals countless times, you’ll notice much here to marvel at.

Life On Mars uses a blend of take 5 and take 9 and allows Ken to rebuild LOM in a way that he remembers the band absolutely *loving* but had to ultimately discard due to Mick Ronson’s cursing. He explains the story in the book and I’ll leave it to you to read and hear, but wow. What a song. This mix is faithful to the original and awesome.

This version of Quicksand. Wow. Incredibly, Ken states this take four version from very early in the HD sessions was determined to be “not good enough” but on revisiting, keyed in on David’s amazing vocal. And gosh it’s really something. He approaches it from a different place - hard to describe - but his timbre and annunciation feels genuinely weary and earnest. Always with these deep dive box sets, there is something that just makes you totally miss the guy, and this was it for me. What a humble performance.

Fill Your Heart is another big surprise - this is take ten but Ken had nothing else to work with as they’d simply recorded over previous takes to save on expensive tape costs. Again keying into David’s vocal, he wipes the orchestra out completely, leaving only Rick Wakemen’s stunning piano playing and DB’s alto and tenor sax. What this does is elevate and lay bare Bowie’s animated vocal parts draped right over your ear drums. Jaw on the floor.

Bombers gets a new mix! Another big surprise. Ken writes that he knows he did a mix of this for the BowPromo EP but can’t remember recording it or mixing it - so after 50 years, loved the challenge of sitting down with these master tape stems and getting to work nailing a mix of this unique DB composition. The song was dropped from the album because it didn’t “fit” with the other material, and although unstated in the notes, to my ear anyway, Mr. Scott brings it into the Hunky Dory universe with want he chooses to emphasize and de-emphasize. I appreciate his sensitivity to honoring the time and circumstances of its recording not going wild with it. It’s solid, balanced and fits beautifully into HD. I wish David could have heard it.

Ahhh man. Wow. People often pick my brain about “favorites” and “rankings” and such things that I generally avoid when thinking about art - and one of those questions is about what I think is “underrated.” There are certainly more than a handful of tracks that would qualify, and Song For Bob Dylan would be there I think, as I listen to this wonderful new mix. I’m not sure why many seem to see this track as a throw-away of sorts - I’ve met people that assumed DB didn’t even write it - maybe it just gets lost inside an album of outstanding tracks, but I think this version here could really grab some hearts.

…and the closing track. I admit I was pretty floored and superglued to my headphones when the new mix of The Bewlay Brothers began. Immediately I realized I had not heard this track at all, in any form, over the course of this box set. Reading Ken’s notes for this song, that’s probably because David just rolled up to him late in the sessions with the old “I have this new song I’d like to do” and f*cking genius that he is, just drops this atomic bomb of a track. So it doesn’t appear that it was demoed at all - which to me is just extraordinary because it *sounds* like a track that would have a deep life of growth, revision, alteration and struggle to find its final form. But no, apparently lightening struck, and in what will prove to be a pattern in David Bowie’s recording career, time and pressure forge a diamond that seems to arrive on a flaming chariot. I could probably blab for an hour about everything happening here, and the contrast to the original mix, but perhaps it’s best to just let that go and urge a listen. I will say the tendency to simplify is probably not always the go-to choice for an audio engineer when faced with rebuilding a complex emotional track like this, but Ken has managed to actually enhance the song’s Mariana Trench of mystery through distillation and careful consideration of each and every detail. Listening through this masterpiece after all that came before, you really do understand the subtitle of this set - “A Journey To Hunky Dory.” This is such a complex and pivotal year in David’s career. He was not glowing in confidence, he was haunted by possible one hit wonder relegation (Space Oddity) as his friend Marc Bolan was basking in well-deserved attention, TMWSTW was not selling well, he was embracing and fast-learning new instruments to compose on, and reconsidering all his possible paths he could take in his life. Things were not, actually, very Hunky Dory at all. I was struck by how, in the very cool included “student note book” containing DB’s hand written notes, lyrics, scribbles, chords, pay rates and telephone numbers, how David fretted over the spelling of the album’s title. Two “R’s?” Maybe with a “e” in there? Umm yes. No? Ugh. Hunky Dory is the story of a man both lost and found.

This is too long so I won’t get too into the weeds of the Blu-Ray disc as it essentially contains higher res versions of what we’ve heard before. A super high resolution of the original mix of Hunky Dory - the final “Divine Symmetry” mix and sequence of the 2021 version, the killer sounding Bob Harris set (also at 96kHz/24 bit stereo) and the 5.1 surround presentation of Life On Mars.

For those wondering, yes the price is high, but the quality of *everything* here is top shelf. The whole package is amazing. Essays, notes, photography, paper stock, slipcase, audio quality… really can’t be improved on. Disappointments for me are few - but the glaring one is the lack of the 2021 mix in DTS-HD or Dolby Atmos surround sound. What a waste not to take the time to do that for the Blu-Ray disc. That said, I’m still 100% happy.

This is a deep dive. If you are one of those people that get annoyed at repeated tracks over the course of multiple discs and can’t hear the difference anyway, or even care, this set is not something you’d want to dump money into. Streaming for free to sate your curiosity will do the trick while you keep your money in the bank.

But if you enjoy unheard/demo Bowie in pretty astounding quality and quantity, have a particular fascination with this record and it’s evolution, or even just enjoy curling up with a coffee table quality book to read and admire unseen photography, you won’t be disappointed.

[novacash]

- H1N - Registratore Palmare Stereo Digitale & Sph-1N - Kit Accessori per H1N

Prodotto 1: Registratore Stereo (formato WAV/MP3) fino a 96kHz/24bit - tecnologia di ripresa a 2 capsule microfoniche a condensatore, installate secondo pattern X/Y

Prodotto 1: ingresso line minijack stereo 3.5mm - uscita Line/cuffie: miniJack stereo 3.5mm - supporta schede microSD/SDHC (fino a 32GB)

Prodotto 1: LCD retroilluminato - speaker integrato per ascolto - connessione micro USB

Prodotto 1: nuove funzioni: velocità riproduzione,stereo bounce e voice emphasize - funzione slate

Prodotto 2: Inclusivo di: - Alimentatore

Prodotto 2: Cavo Micro USB

Prodotto 2: Cuffia antivento

Prodotto 2: Astuccio per trasporto

Zoom - H1n - registratore palmare stereo digitale I creator in tutto il mondo stanno usando i Registratori Palmari Zoom per catturare il suono e campionare l'audio come mai prima d'ora. Il nuovo H1n è il registratore definitivo che vi accompagna ovunque. I microfoni X/Y di H1n catturano un suono stereo di alta qualità, supportando audio sino a 24 bit e frequenze di campionamento a 44.1, 48, o 96 kHz nei formati WAV e vari MP3. Con H1n, abbiamo ripensato la user experience. I controlli tramite un pulsante one-touch rendono semplice registrare brani, audio per i film, lezioni, podcast e altro ancora. E con il suo nuovo display LCD monocromatico da 1.25" è facile leggere anche nelle condizioni di illuminazione più elevate. Un avanzato limitatore interno offre segnali privi di distorsioni sino a 120 dB di SPL, registrando in modo definito anche le band dal suono più intenso. Un filtro Low-cut aiuta anche ad eliminare pop e rumori a bassa frequenza. La funzione Overdub vi permette di aggiungere nuovi livelli di audio, per registrazioni dal suono più ricco e pieno.Il Controllo della Velocità di Riproduzione di H1n vi permette di trascrivere musica, interviste e altri tipi di registrazioni senza alterare l'intonazione. Potete anche impostare H1n su Auto-Record, Pre-Record, e Self-Time, per essere sempre certi di catturare il momento. Il nuovo generatore di toni rende facile calibrare i livelli audio del vostro H1n e della fotocamera. Un ingresso mic/line stereo da ⅛" vi permette di registrare con i vostri microfoni esterni o altre sorgenti sonore, e fornisce l'alimentazione plug-in (2,5 volt). Collegate le cuffie tramite l'apposita uscita da ⅛", con controllo di volume dedicato. Potete anche utilizzare l'altoparlante incorporato nel H1n per ascoltare le vostre registrazioni. La porta USB di H1n offre un'uscita digitale del mix stereo e consente ai dati di essere inviati al e dal computer. Permette anche a H1n di essere utilizzato come un microfono USB e come un lettore di card microSD. Registratore Stereo (formato WAV/MP3) fino a 96kHz/24bit - tecnologia di ripresa a 2 capsule microfoniche a condensatore, installate secondo pattern X/Y - ingresso line minijack stereo 3.5mm - uscita Line/cuffie: miniJack stereo 3.5mm - supporta schede microSD/SDHC (fino a 32GB) - LCD retroilluminato - speaker integrato per ascolto - connessione micro USB - nuove funzioni: velocità riproduzione,stereo bounce e voice emphasize - funzione slate -alimentazione: 2x batteria AAA (non incluse) per registrazioni fino a 10 ore consecutive - alimentatore USB AD-17 (opzionale) - accessori in dotazione: codice download Steinberg Cubase/Wavelab LE Zoom - SPH-1n - Kit accessori per H1n Inclusivo di: - Alimentatore - Cavo Micro USB - Cuffia antivento - Astuccio per trasporto

[louisshalako]

Boston MFSL 24bit 96kHz (LP)

[audiostim]

Tri-Phase Mood Pads.

An album full of Tri-Phase mood pads, some more intense than others..

Produced and mastered in 96Khz 24Bit.

High quality .WAV files available for download.

[lieselotte-sky]

Opus vs AAC na Youtube

aneb všechno je jinak. Když jsem to tu před časem řešila nevšimla jsem si detailu. Totiž AAC (formát 140) je AAC, ale se samplerate 44.1kHz 16bit (čili televnizní pohrobek), kdežto Opus (formát tuším 251) je se samplerate 48kHz 16bit, což je daleko příčetnější, protože prakticky veškeré profesionální audio používá 24bit@96kHz. No a když tam nahráváte video, má pochopitelně zvuk nějaký samplerate, typicky 48kHz, protože u videa/filmu se odjakživa používalo 48kHz, nicméně nutné to není, no a tím pádem cesta do Opusu tkví toliko v další vrstvě ztrátového kodeku, avšak nedělá se resample. U AAC se ovšem dělá, protože tam jsme na televizním pohrobku 44.1kHz (z neznámého důvodu). Já jsem si bláhově myslela, že youtube do samplerate nehrabe, no, to byl omyl. Hrabe. A resample mezi 44.1 a 48kHz se dá bez nějaké zásadnější ztráty kvality udělat přesně jednou. Pokud autor videa použil nějakou hudbu na CD, musel udělat resample z 44.1 na 48 už když renderoval video, protože video a film používá 48. Takto to projde do Opusu, ovšem do aac se dělá resample z 48 zpět na 44.1 a to už je děs, jinými slovy, ono to vůbec nesouvisí s kodekem. Pokud by autor uploadoval zvuk v 44.1 (bez ohledu na kodek), bude se ve výsledku lepším jevit AAC, ale protože videa jsou většinově se zvukem v 48kHz, jeví se jako lepší Opus, přestože to pro daný účel není vhodný kodek. Rozdíl ale není v kodeku, nýbrž v tom, že se nedělá resample.

Kdo tohle na té trubce vymyslel, to musel být genius. Hádám, že je za tím nějaký překvapivý důvod plynoucí z morbidních telefonů či chytrých TV. Totiž z drtivé většiny turistických kamer vám vypadne zvuk v AAC na 48kHz, z profesionálních potom v PCM na 48/96kHz, jak kde, no. h.264 na 1080p na 24/25fps a zvuk v AAC na 48kHz je současně naprosto typickým formátem pro BD. Takže CO je na trubce vedlo k tomu, co dělají, opravdu nechápu, nicméně.

[macotakara]

TRNのロスレス対応USB-C接続カナル型モニターイヤフォン「TRN ORCA」紹介 from Macotakara on Vimeo.

TRNのロスレス対応USB-C接続カナル型モニターイヤフォン「TRN ORCA」の製品紹介です。

不要な振動を抑えて解像度の高い音を再生する液晶ポリマーフィルム振動板や、ドライバユニットの背面に2つのチャンバー(気室)を装備するデュアルチャンバー構造を採用した10mmドライバーユニットを搭載しています。

N52グレードの高磁力ネオジウムマグネットや銅被覆アルミニウム丸型コイル採用し、クリアな中高域とパワフルな低音を再生します。

USB-Cケーブルは、出力16bit/44.1kHz〜24bit/96kHz、入力16bit/48kHz、24bit/48kHzに対応しています。

レビュー macotakara.jp/accessories/entry-46245.html

#TRN #ORCA #USB-C