The Kostas Metaxas Recordings label is a co-production between Kostas Metaxas and exceptional musicians which has a 50%/50% revenue share basis. It is a way of supporting and exposing and preserving exceptional local and international musical talent on legacy-quality 1/4" analogue tape which is then dubbed to digital in any resolution quality.

Without exaggeration, these recordings are the closest thing you'll hear to the analogue sound coming from 1/4" tape. Reviewers and seasoned Audiophiles have already described our early recordings as having the classic "Mercury Living Presence" sound - the highest compliment that can be made for location recording work. They remark on the sound being more "really there" .

All recordings are stereo miked in AB with our "reference microphones" - omni-directional Bruel & Kjaer 4135's fed directly into one of three [or a Stellavox TD9] portable heavily "Metaxas-modified" Stellavox SM8 recorder running at15ips tape speeds - exactly as they would have been recorded in the 1960's during the "Golden Years" of recordings.

Other microphones which we own and are currently experimenting with:

1. Neumann u87ai's. This is essentially the industry "standard" in studio recording and imitated by all other manufacturers.

2. Neumann TLM 50's - These are the modern equivalents to the legendary M50's used by Lewis Leyton [and others]. Essentially a 1/2" capsule is flush-mounted in a "plexiglass" golf ball.

3. Earthworks QTC-1's - Essentially the 48V phantom powered version of a B&K-philosophy microphone.

4. B&K's 4133s [1/2" capsules] , 4145's [1" capsules]

5. Neumann Gefell MK301s [sames as B&K 4135] , MK202s [sames as B&K4133]

[The B&K 4006 Studio microphone which is also used for a lot of orchestral recording,  is a cross between the B&K 4133 and 4165 1/2" instrumentation microphones]

The Stellavox recorders are the ultimate location recorder. I've tried some of the well-known digital recorders - Nagra V, Tascam DSD, as well as DAT machines from all the well-known companies, and they are simply "mid-fi" by comparison.

Every serious mainstream engineer working on location recording acknowledges the superiority of analogue tape. Even the highest paid Studio Engineers still mix to analogue tracks for the major "pop-stars" [Bruce Swedien etc].

With DVD Audio there is no compromise in combining Video and Music and is the main reason we have decided to use this medium. There is no equivalent video/audio standard for SACD.

The purist recording approach aims to reproduce the event as realistically as possible with a huge, natural soundstage filled tons of "air" or atmosphere around the instruments. A good Hi Fi system can EASILY place the instruments in a soundfield arranged around a pair of stereo speakers - almost the inverse of the recording process.

Enthusiasts will instantly notice the incredible "bloom" and weight of the recording - the sound of a direct from tape transfer. Absolutely NO compression, limiting, mastering or equalization is used.  I should note that it might take a bit of getting used to hearing tape noise again [like the Mercury, RCA, DECCA recordings] instead of the emptiness of flat, dull, digital location recorders.

All these tracks can be auditioned with Windows Media Audio, plus one track can be viewed in Windows Media Video

Each DVD contains approx. 60 minutes of concert performances [Video + Audio] plus another 60 minutes of Audio-only Samples of other concerts. The DVDRs are 8X speed from Verbatim to ensure maximum compatibilty with current DVD and Universal players.

Det var sa.... Herligt initiativ. Spændende jensen.


mvh

micjac skrev: Det var sa.... Herligt initiativ. Spændende jensen. mvh

Ja har købt noget musik derfra .