1

2005

England, Holland, Belgium, Germany,Budapest

Jared Sacks, Ashley Solomon, Hein Dekker, Jonathan Attwood

Jared Sacks

73.00

Microphones: Bruel & Kjaer 4006, Schoeps
Digital Converters: DSD Super Audio/Meitner Design AD/DA
Speakers: Audiolab, Holland
Software: Pyramix Editing, Merging Technologies
Mixing Board: Rens Heijnis, custom design
Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier
Cables: Van den Hul

One thing's for sure: Channel Classics is making the best sounding SACDs on the planet at the moment. Gorgeous in stereo,
these performances have even more presence and sparkle in the multi-channel format, with wholly natural balances and a discrete
use of the rear speakers to give just that added bit of depth.
(Classics Today)
And the multichannel sound here is so magnificently executed that even skeptics who find the whole surround thing too gimmicky
will have to take notice. C. Jared Sacks' multichannel sound is as tasteful and unobtrusive as it gets. Even after listening
to this SACD for weeks, I still find myself getting up to put an ear to one of the rear speakers to reassure myself that something
was indeed coming out. The stereo SACD version is excellent, with virtually none of the top-end softening that some hear with
DSD encoding. But switch to five-channel, and the vocalists move forward in front of the speakers and become corporeal presences.
Subtle room cues become more audible. Not to be missed.
(High Fidelity, Anthony Quint)
(…) This superb recital, aided by a crystal-clear SACD recorded sound (even on a conventional cd player), is the perfect place to
make its acquaintance.
(International Record Review)
(...) Their playing takes in a strikingly wide dynamic range and a meticulous observance of markings. The opulent recording
allows plenty of detail to be heard within an ambient acoustic, especially on the excellent SACD mastering. (…)
(Gramophone)