Das Mikrofon – The Microphone – SACD Hybrid
Hybrid SACD Multi-Channel DSD – Plays on all SACD and CD players
Η Tacet σε αυτό το Super Audio CD μας παρουσιάζει μέσα από 16 tracks όλη την ιστορία του πυκνωτικού μικροφώνου, από το 1927 έως σήμερα!…Ένα ακόμα μάθημα audiophile από την Tacet…
1. Joseph Haydn : Streichquartett – Op. 74 Nr.1, 2.Satz 6:49
2. Johann Strauss (Sohn) : Egyptischer Marsch – Op. 335 3:59
3. Ludwig van Beethoven : Sonate d-Moll – Op. 31 Nr 2, 1. Satz 8:43
4. Gioacchino Rossini : Petite Messe Solennelle – Gloria 2:53
5. Gioacchino Rossini : Petite Messe Solennelle – Cum Sancto 6:58
6. Gioacchino Rossini : Petite Messe Solennelle – Crucifixus 3:37
7. Johann Sebastian Bach : Partita d-Moll – BWV 1004, Giga 3:05
8. Johann Caspar Kell : Toccata Terza in a 5:58
9. Carl Philip Emanuel Bach : Sonate c-Moll – Wq 161a, 2.Satz 4:34
10. Wolfgang Amadeus Mozart : Sonate in C – KV 330 (300h), 3.Satz 4:50
11. Franz Schubert : Streichquartett G-Dur – Op.161 D 887, 3.Satz 6:38
12. Hugo Wolf : ‘Heib’ mich nicht reden’ aus den Goethe-Liedern (1888) 3:40
13. Johann Sebastian Bach : Die Kunst der Fuge – Contrapunctus 9 2:16
14. Wolfgang Amadeus Mozart : Fantasie d-Moll KV 397 7:00
15. Felix Mendelssohn Bartholdy : Klaviertrio – Op. 66 Nr 2, 3.Satz 3:47
16. Richard Rodgers : Blue Moon 1:11
Neumann CMV3 (1927), Neumann M49 (1949), Brüel & Kjaer 4003, Dummy Head Neumann KU81i, Neumann KM84, Scheps CMC 5 MK 2, Neumann U47 (1947), Sennheiser MKE212 R (Boundary layer microphones), Neumann KM264i, Neumann KM83, Schoeps MK 2 S,
Schoeps KFM 6 U (Sphere microphone), Schoeps CMC 5 MK 2
This is the first compendium of tracks from different TACET productions.
For once, the main feature of this CD is not a musician, a composer or a musical theme. Instead, the star of the piece is: The condenser microphone.
Condenser microphones good enough for studio use have been in existence since 1927. Although they virtually superseded the other types of microphone (carbon, dynamic, and ribbon microphones, for example) They are still being developed today. This collection of recordings is intended to give an overall impression of their uses. Almost all the pieces are from existing TACET productions.
Only two recordings–tracks 1 and 8–were made specially for this collection.
As well as giving you a historic cross section, we would also like to provide you with an acoustic “insight” into the TACET label’s production methods. TACET’s philosophy that there is no recording technique or method which is absolutely perfect forever. Rather, it should be the job of a good recording team to use the best technical equipment available at any given time to experiment in the interests of the music, and to endeavor to provide the technical support in order to portray clearly the ideas of the composer and of the performing musicians. In the case of an orchestral work by W.A. Mozart, for example there would be little sense in emphasizing the brass section with a large number of microphones: as a result the mixture of sounds which is an essential part of Mozart’s instrumentation would be lost. So the scope available to the sound engineer is clearly limited by the music itself. Nevertheless, many roads lead to Rome. So it was not by chance that in almost TACET production to date a different main pair was used: rather this was simply a result of untiring experimentation. And finally one must not forget that “the sound makes the music”, but the musicians make the sound. Really audiophile sounds are only found where excellent musicians get the best out of excellent instruments and themselves. And the result is music!