Ask questions to Blu-ray Music insider "Alexander J"

[dialog_gvf]

Welcome,

Care to comment on the recent announcement of the intent to introduce a CD alternative on microSD flash cards?

If such a thing succeeds, is it logical to expect that it would be considered for HD audio in the future, once much larger flash cards become feasible distributing content?

Gary

[Alexander J]

Originally Posted by dialog_gvf

Welcome,

Care to comment on the recent announcement of the intent to introduce a CD alternative on microSD flash cards?

If such a thing succeeds, is it logical to expect that it would be considered for HD audio in the future, once much larger flash cards become feasible distributing content?

Gary

I like the idea,

But unfortunately technological issues of this development is beyond my current expertise so I can't comment on that, however I think that it should be serious commitment involved from hardware and software developers to deliver the solution for HD Audio for this media before we can start talk seriously about it.

[TheLion]

First of all - Welcome @ Blu-ray.com

After I fell in love with 2L's Divertimenti release I am looking forward to some of your work.

@ source audio format

So basically only your Vivaldi and MUSSORGSKY releases are sourced from an 24bit/96khz recording - all other classical releases up until now are upsampled 48khz?! Is this correct?

@ samples

As I am not familiar with many of your recordings I would appreciate it if you would provide an opportunity to download some samples!

@ retailers

I know you can buy your releases @ amazon.com but I would prefer using other online retailers like my favourite DVDPacific due to better shipping options to europe!

Thank you!

[Penton-Man]

Alexander,

TheLion hails from the European country that prides itself in having the “World’s Music Capital”, i.e. Vienna.
If you don’t mind paying a little extra in postage, it’s fine with me if you send my copy of Vivaldi to him.

However, if international shipping presents a problem from your job location, send me another PM.

[Alexander J]

Originally Posted by Penton-Man

Alexander,

TheLion hails from the European country that prides itself in having the “World’s Music Capital”, i.e. Vienna.
If you don’t mind paying a little extra in postage, it’s fine with me if you send my copy of Vivaldi to him.

However, if international shipping presents a problem from your job location, send me another PM.

I am actually happened to have 1 extra copy
So by recommendation from Penton-Man I will be glad to send it.

My position on Source Audio Formats for high definition surround recordings I explained in my post No.37

Thank you for asking for samples of my Electronic Music Works in Surround Sound.

I would like to introduce you to 2 of mine Electronic Compositions:
Breeze and Element in 5.1 DTS Surround Sound.
You can make your own DTS Music Disc, (This is not a Lossless Audio)
Just follow my instructions:

Check your home theater system for DTS compatibility.
1. Download zip files.

Breeze
Element

2. Unzip DTS Wav files
3. Burn an Audio CD. (Not a Data CD)
4. Play your new DTS Music CD with your Blu-ray player.

(In terms of my work is dedicated to provide you with Surround Music Experience I am not providing any stereo samples)

[TheLion]

Originally Posted by Penton-Man

Alexander,

TheLion hails from the European country that prides itself in having the “World’s Music Capital”, i.e. Vienna.
If you don’t mind paying a little extra in postage, it’s fine with me if you send my copy of Vivaldi to him.

However, if international shipping presents a problem from your job location, send me another PM.

Dear P-Man,

while I have not the slightest idea how I can ever deserve your attention and kindness I sure very much appreciate the gesture! Here is hope that jealousy may not cause your mail box to overflow

btw the times we prided ourselves on having the "World's Music Capital" (like Vienna and Salzburg) have passed long ago. Still, listening to Mozart and van Beethoven remains a haimish treat for us...

Thank you very much!

[TheLion]

Aleksander,

thanks for the samples - I really enjoyed them!

I am also very glad that you will "follow Penton's kind recommendation" and grant me a copy of your work. Thank you very much - much appreciated (I was so bold and took the opportunity to send you a PM with my contact info ) My Genelecs and I are looking forward to Vivaldi in glorious 7.1 ...

regarding my third "question" - I would very much like to see more retailers offering your products! Perhaps you can look into it.


Please allow me to ask you a very specific question about surround (music) mixing in general. From my point of view there are two distinct schools of thought. The one is to use surrounds (just) to provide ambiance (the sound stage is spread over the front three channels only), the other puts you "in the middle of the orchester" by using all 5/7 channels for music (placing instruments all around the listener). Looking at your Vivaldi - The Four Seasons release you seem to employ both alternatives.

What are your general thoughts about the two methods? Which one of the two will you use as standard for your classical releases going forward? Do you agree that 2L's approach of putting the listener in the middle of the sound stage works spectacularly well? The problem I see with your 7.1 releases following this approach is that on 5.1 playback setups the listener actually looses parts of the performance (which isn't much of an issue when those channels are used for ambiance only).

Can you provide some insights about these concepts and your practical work with them? I take it it depends on the content at hand which method is more suitable?!

Thanks!

[Alexander J]

Originally Posted by TheLion

Aleksander,

thanks for the samples - I really enjoyed them!

I am also very glad that you will "follow Penton's kind recommendation" and grant me a copy of your work. Thank you very much - much appreciated (I was so bold and took the opportunity to send you a PM with my contact info ) My Genelecs and I are looking forward to Vivaldi in glorious 7.1 ...

regarding my third "question" - I would very much like to see more retailers offering your products! Perhaps you can look into it.


Please allow me to ask you a very specific question about surround (music) mixing in general. From my point of view there are two distinct schools of thought. The one is to use surrounds (just) to provide ambiance (the sound stage is spread over the front three channels only), the other puts you "in the middle of the orchester" by using all 5/7 channels for music (placing instruments all around the listener). Looking at your Vivaldi - The Four Seasons release you seem to employ both alternatives.

What are your general thoughts about the two methods? Which one of the two will you use as standard for your classical releases going forward? Do you agree that 2L's approach of putting the listener in the middle of the sound stage works spectacularly well? The problem I see with your 7.1 releases following this approach is that on 5.1 playback setups the listener actually looses parts of the performance (which isn't much of an issue when those channels are used for ambiance only).

Can you provide some insights about these concepts and your practical work with them? I take it it depends on the content at hand which method is more suitable?!

Thanks!

This is very serious and interesting question.

And I believe it will take more then one post to get insights about these concepts.

My two major approaches that I taking in my work is to create virtual environment where each sound can have its unique location around the listener that I follow in my electronic music compositions and transcription of classical works and the second to showcase the reality of Natural Acoustic Experience using the power of 7.1 Surround Sound.

This is the sample of the first approach from “Uncommon Bach” project. Original orchestral partitures were transcribed in a virtual domain using midi, sampled instruments and synthesis to achieve real separation of the instruments, and also to balance them together in the surround mix:

BWV208, Was mir behagt, ist nur die muntre Jagd!
(Follow the instructions of how to create DTS Music Disc in post No.45)


Second approach can be presented utilizing several techniques one of them is to place the listener in audience in front of the stage, Secord one is to place a listener in conductor position and another one is to place the orchestra around the listener - however I have the strong opinion that music should be specifically written or arranged by composer or transcriber to utilized this technique effectively.

Our Vivaldi title originally captured by Naxos and produced by me in 7.1 Surround Sound is featuring two of these techniques “The Four Seasons” is reproducing stage in front channels and natural ambience of the concert experience in the rear but Concertos for the Assumption of the Virgin Mary written for two independent orchestras, these were recorded with the soloist, David Juritz, standing in the middle of the two groups. This seemed an ideal opportunity to position the orchestras accordingly in surround sound, so for both concertos, orchestra one is positioned in the front channels and orchestra two in the rear. Similar techniques were greatly utilized by 2L label in “Divertimenti”.

Will be glad to continue this discussion in future posts.

[Alexander J]

Originally Posted by TheLion

The problem I see with your 7.1 releases following this approach is that on 5.1 playback setups the listener actually looses parts of the performance (which isn't much of an issue when those channels are used for ambiance only).

This is depends of how the mix is produced. In my work I am always keep in mind
a listener with 5.1 Surround set-up referencing 7.1 mix in 5.1 to not to loose any details of Surround Presentation in 5.1 configuration but to provide a greater listening experience utilizing capabilities of extended 7.1 environment.

[Alexander J]

I would like to announce a contest.

Every 2 weeks I will present a title from our Surround Music Collection for the most interesting question or comment about Music in Surround Sound.

Good luck,


This is our First Prize:

JOHANN SEBASTIAN BACH: Orchestral Suites No.1,2&3 / Tripelkonzert - Acoustic Reality Experience



SUITS NOS. 1 - 3 BWV 1066 1069

The four Orchestral Suites or Ouvertures BWV 1066 1069 are a set of compositions by Johann Sebastian Bach, probably composed around 1720 in Cöthen. The word ouverture refers to an opening movement in which a section of slow dotted-note rhythm is followed by a fugue; at the time, this name was also used to refer to a whole suite of dance-pieces in the French baroque style.

Ouverture No. 1 in C major, BWV 1066
1. Ouverture
2. Courante
3. Gavotte I/II
4. Forlane
5. Minuet I/II
6. Bourrée I/II
7. Passepied I/II
Instrumentation: Oboe I/II, bassoon, violin I/II, viola, basso continuo

Ouverture No. 2 in B minor, BWV 1067
1. Ouverture
2. Rondeau
3. Sarabande
4. Bourrée I/II
5. Polonaise (Lentement) - Double
6. Minuet
7. Badinerie
Instrumentation: Solo flute, violin I/II, viola, basso continuo The badinerie has become a show-piece for solo flautists, due to its quick pace and difficulty, and it is also often heard as a mobile phone ringtone. It was sampled by rapper Busdriver for his 2002 song Imaginary Places.

Ouverture No. 3 in D major, BWV 1068
1. Ouverture
2. Air
3. Gavotte I/II
4. Bourrée
5. Gigue
Instrumentation: Trumpet I/II/III, timpani, oboe I/II, violin I/II, viola, basso continuo The Air is one of the most famous pieces of classical music. An arrangement of the piece has come to be known as Air on the G String.

TRIPELKONZERT

Concerto for harpsichord, flute, and violin in A minor, BWV 1044
1. Allegro
2. Adagio ma non tanto e dolce
3. Alla breve
Scoring: harpsichord solo, violin solo, flute solo, violin I/II, viola, continuo (cello, violone)
Though this a concerto for three instruments, the harpsichord has the most prominent role and greatest quantity of material; there are several cadenzas and virtuosic passages for the instrument; the scoring is identical to that of Brandenburg concerto no.5, BWV 1050, though the character is quite different. The first and third movements are adapted from the prelude and fugue in A minor for solo harpsichord, BWV 894, which have been developed with added tutti sections. The middle movement is from the trio sonata for organ in D minor, BWV 527, which has been expanded to four voices; only the solo instruments play, and the flute and violin share the melody and accompaniment, switching roles on the repeat of each half.

Musicians:
I BAROCCHISTI:
Duilio Galfetti, violin, viola
Giovanni De Rosa, viola
Thomas Muller, natural horns
Raul Diaz, natural horns
Maurice Steger, recorder
Stefano Bet, flute, recorder
Emiliano Rodolfi, oboe Gabriele Cassone, natural trumpet Francesco Cera, harpsichord
Diego Fasolis, harpsichord, conductor

Audio Presentation: 24bit / 96K 7.1 DTS-HD Master Audio

[Slec]

Wow Alexander, thanks for this type of support, really above and beyond. I ordered Vivaldi last week and it should be here on Monday can't wait!

Just wanted to say thanks for being here.

Working on anything at the moment that you can discuss?

[Fatboymart]

Hi Guys

Please be patient with this question

I have never spent any time listening to the music you have discussed here over the last few weeks, That is until now.

Taking advantage of my father’s absence (hip operation) I decided to sneak a few classical/opera type albums home past my mother. (well I didn’t want her thinking I was into this stuff yer know).

Anyway, I loaded a few tracks onto my iPod and proceeded to read quietly before dropping off to sleep.

Now for the admission...

I have to say, I have found myself completely hooked on one particularly beautiful piece of music, so much so I was hoping you could recommend more like this please...no-please-really, I am hooked.

I’m not sure if you would have heard this song, as its from one of those compilation discs, so here goes.

The song is called “Casta Diva” the artist is “Renee Fleming”.

I nod off every night with this song sending shivers down my back.

So please, before I ware this song out, could you recommend something else like this, so my collection totals TWO beautify emotional pieces of music.

Regards

Martin

[Alexander J]

Originally Posted by Slec

Wow Alexander, thanks for this type of support, really above and beyond. I ordered Vivaldi last week and it should be here on Monday can't wait!

Just wanted to say thanks for being here.

Working on anything at the moment that you can discuss?

We just completed production of Bach Orchestral Suites that will be released
on October 14.

Currently I am working on Authoring of my 2 electronic music titles "Spatial Dynamics" and "Space or Dream of Life" that I schedule for release later this month that will feature new discrete 7.1 mixes.

Talking about long term projects I am writing Symphonic Fantasia "The Master and Margarita" based on my previously recorded material from 2006 inspired by Michael Bulgakov novel that I plan to record with London Symphony Orchestra by the end of 2010.

This is the sample from one of the themes currently performed with virtual instruments:
Margarita's Flight (wma stereo)

More later,

Need to get back to work

Best,

Alexander

[TheLion]

Originally Posted by Alexander J

This is depends of how the mix is produced. In my work I am always keep in mind
a listener with 5.1 Surround set-up referencing 7.1 mix in 5.1 to not to loose any details of Surround Presentation in 5.1 configuration but to provide a greater listening experience utilizing capabilities of extended 7.1 environment.

As a follow-up to my previous question:

So basically you are using sixth and seventh channel in any case not as discrete music channels (like the front stage) but for providing better spatiality by ambiance. This is a bit of a compromise which I understand is necessary to serve the least common denominator => standard 5.1 setups.

Question is - how do hardware receiver/pre-amps/processors handle discrete 7.1 streams on 5.1 setups? Do they generally downmix to 5.1 (the sixth and seventh channel is mixed into the surround channels) or do they extract and reproduce just the isolated and unaltered 5.1 stream? This is a key variable which has impact on how to mix 7.1 content.

Great idea about the contest btw

[TheLion]

Originally Posted by Alexander J

...

We need to stick with 96K for now in terms that no original sourced were recorded in 192K resolution but I have plans to originally record myself Organ Performance in the Cathedral next year and will be looking forward for possibilities to deliver this recording in 192K 24 bit 7.1 Audio.

...

Alexander,

I am delighted that you are planning to record an "Organ Performance". I take it we are talking about pipe organ music here?

If so the key characteristic of such content is the exciting natural low frequency extension - which gives such recordings the potential to serve as "ultimate" subwoofer music demo pieces (just look at all the "subwoofer reference" threads in forums - this type of music is getting huge attention from HT enthusiasts due to this property).

How do you plan to capture the full dynamic and frequency range of pipe organ music? Are you prepared to capture subsonic content well below 10Hz (practically no high pass filter in place)? How do you plan to mix the bass content - whats the balance between using the 5/1 discrete channels for bass and using LFE? So basically do you put the bass content in either one or are you applying a synergistic approach?

Thank you!

[Johnny Vinyl]

Great idea about the contest! But I have a feeling the winning question is mostly going to be based on technological issues of which I personally have little or no knowledge and I suspect the vast majority of members don't either.

A real shame as I'd love to win one of your Music BD's. I have to win it as they are unafforable up here in Canada. All of the ones I've seen are like $45, which is way to expensive. I guess for now I'll have to satisfy my classical music interests by buying SACD.

Having said that, I do read the posts here and am slowly learning a bit more about this, that and the other. Maybe soon I can post something more interesting and meaningfull.

[Alexander J]

Originally Posted by John72953

Great idea about the contest! But I have a feeling the winning question is mostly going to be based on technological issues of which I personally have little or no knowledge and I suspect the vast majority of members don't either.

Having said that, I do read the posts here and am slowly learning a bit more about this, that and the other. Maybe soon I can post something more interesting and meaningfull.

A little clarification about the contest:

I am encouraging everybody to post as normal and ask any questions you like. Please do not limit yourself to technological issues about surround technology.

I am interested to see more post about your listening experience and how the power of surround sound helped you to enjoy the music.

Originally Posted by John72953

A real shame as I'd love to win one of your Music BD's. I have to win it as they are unafforable up here in Canada. All of the ones I've seen are like $45, which is way to expensive. I guess for now I'll have to satisfy my classical music interests by buying SACD.

Our titles cost just a few dollars more then average SACD titles if you buy them from Amazon, and as fare as you into Surround Music and have 7.1 Yamaha HTR-6190B DTS-HD Master Audio capable receiver it will be a shame to keep yourself from listening Music produced for new generation of Sound Technology that many talented developers created to provide you with greater Sonic Experience.

The song is called “Casta Diva” the artist is “Renee Fleming”.
I nod off every night with this song sending shivers down my back.
So please, before I ware this song out, could you recommend something else like this, so my collection totals TWO beautify emotional pieces of music.

If you looking over performances of Renee Fleming I would also recommend her performance of "Ave Maria" by Schubert.
Getting back to our future releases I have access to High Definition recordings of Renee Fleming performing Handel’s vocal music that in my plans for possible 7.1 Blu-ray Audio release yearly next year.

Question is - how do hardware receiver/pre-amps/processors handle discrete 7.1 streams on 5.1 setups? Do they generally downmix to 5.1 (the sixth and seventh channel is mixed into the surround channels) or do they extract and reproduce just the isolated and unaltered 5.1 stream? This is a key variable which has impact on how to mix 7.1 content.

Regarding listening 7.1 High Definition Material in 5.1 setting I would like to mention that DTS-HD Master Audio contain standard 5.1 (core) stream that I you will hear if you don’t have DTS-HD decoding option, DTS-HD encoding technology featuring manual 5.1 downmixing for the core stream that I utilize in my recordings, However like I mention before all "Acoustic Reality Experience" Titles produced to be experienced in 5.1 and 7.1 HD Audio respectfully.

How do you plan to capture the full dynamic and frequency range of pipe organ music? Are you prepared to capture subsonic content well below 10Hz (practically no high pass filter in place)? How do you plan to mix the bass content - whats the balance between using the 5/1 discrete channels for bass and using LFE? So basically do you put the bass content in either one or are you applying a synergistic approach?

Organ performance title will be done primary with H2-PRO 7.1 microphone developed by Rising Sun Productions however alternative micing techniques will be also utilized primary because of Low frequency capturing factor that was just mentioned.

I will get back to 7.1 mixing approaches in future posts

Best,

Alexander.

[Slec]

Alexander,
Do you approach each title based on the physical source material or based on what you hear in your head from a musical perspective? As in, while authoring, do you look at the music and see what would most benefit from multi-channel audio, or do you concentrate on faithful upfront presentation first? I'm not by any means saying that you sacrifice quality for the surround experience. I'm more curious if the particular pieces guide what you choose in terms of the acoustic reality experience vs. full blown audio from surround channels.

Maybe to clarify, what got me thinking about this is some of the pieces by Rzewski where the piano is used as a percussive instrument as well as a musical one. Hearing it live can be quite an experience as the room fills with the different sounds emanating from the piano. It can be rather haunting and it got me thinking as to how that would sound reproduced in multi-channel and to ask how decisions are made to best suit playback. The Vivaldi disc makes great use of the possibilities multi-channel surround with the double orchestra. Any thoughts?

Thanks,
Chris

[Fatboymart]

Originally Posted by Alexander J

[B]A little clarification about the contest:
If you looking over performances of Renee Fleming I would also recommend her performance of "Ave Maria" by Schubert.
Getting back to our future releases I have access to High Definition recordings of Renee Fleming performing Handel’s vocal music that in my plans for possible 7.1 Blu-ray Audio release yearly next year.

Thanks. I'll take a look to see if my father already has Ave Maria in his collection, and wait to see when you realise Renee Fleming in DTS HD MA.

[blu2]

Have you considered any Jazz releases? Do you think the surround experience would translate well to a small group jazz recording?