Russian hi-fi magazine "АудиоМагазин" № 2(103) 2012

Sound Recording Extremes


To design speakers properly you need a reference point, a linkage to reality. For instance when a carpenter takes a ruler in his hands it means this is a standard for everyone. But when we’re dealing with the problem of high quality speaker design each engineer has their own notion of what quality means. Everybody has their own listening experience. Some attend live concerts, others know the sound of the guitar their neighbor plays in the evenings, but most people live in a virtual world of records that is separated from reality, and they have absolutely no idea of live sound.  Being a designer of audio components myself I don’t know which recording can be used as a reference point. The final sound equation has dozens of unknown quantities. The foremost problem is what kind of recording this or that particular one is and how it was made. Designing components for audio reproduction we had to create a new way of sound recording (the recording industry heritage is huge and ambiguous).  Our current recording sound flow appeared after a long process of trial and error. A lot of time and money was spent and finally we created a ‘no-compromise’ sound reproduction gear. In other words I had to approach audio recording technique because it was what my job of audio designer demanded».  

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Chief choirmaster and conductor Andrei Petrenko, who conducted the cantata, told us: «This recording really resembles the sound that I used to hear being at the conductor’s stand. For instance you can’t help noticing the genuine scale of the piece — and it was faithfully reproduced exclusively by means of electronics!» Valeri Gergiev also shared his experiences after hearing №4 recording made by Wagner Audio Lab. He was concise calling it ‘most convincing’.