℗ 2015 Wilson Audiophile Recordings
 

Brahms & Beethoven: Clarinet Trios

Charles West, Roger Drinkall, Dian Baker

Available in 176.4 kHz / 24-bit, 88.2 kHz / 24-bit AIFF, FLAC and 2.8224 MHz DSD high resolution audio formats
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Trio in A Minor for Piano, Cello and Clarinet, Op. 114  
1.1
I. Allegro
Johannes Brahms; Charles West; Roger Drinkall; Dian Baker
6:50
1.2
II. Adagio
Johannes Brahms; Charles West; Roger Drinkall; Dian Baker
7:29
1.3
III. Andante grazioso
Johannes Brahms; Charles West; Roger Drinkall; Dian Baker
3:55
1.4
IV. Allegro
Johannes Brahms; Charles West; Roger Drinkall; Dian Baker
4:07
Trio in B-Flat Major for Piano, Clarinet and Cello, Op. 11  
1.5
I. Allegro
Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker
9:07
1.6
II. Adagio
Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker
4:47
1.7
III. Allegretto
Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker
7:05
Digital Booklet
Total Playing Time    43:20
This recording of clarinet trios from March 1995 brings together acclaimed solo clarinetist Charles West with cellist Roger Drinkall and pianist Dian Baker of the Drinkall-Baker Duo. The performance was captured at Maurice Abravanel Hall in Salt Lake City, Utah, a venue known for its clean acoustics, linear reverberation and midrange focus. As on most other Wilson Audiophile chamber recordings, the perspective is close and the engineers have created an illusion that the musicians are right there in your listening room. The cello is positioned in front of the piano, to the right of centre, facing the front of the soundstage. The image of the cello is rather large and can be heard moving slightly as Drinkall plays.
176.4 kHz / 24-bit, 88.2 kHz / 24-bit PCM and 2.8224 MHz DSD – Wilson Audiophile Recordings Studio Masters

This album is a high-resolution digital transfer of material originating from an analogue master source. Due to the nature of analogue tape recording, it may contain artifacts or audio which uses a limited amount of the available dynamic range / frequency bandwidth of high-resolution digital audio. As such, it is offered as a high-resolution documentation of a historical release. Executive producer: Sheryl Lee Wilson Musical producer: Bruce Leek Production coordination: J. Troy Bankhead Production assistant: Matthew G. Tucker Technical direction: David A. Wilson Recording engineering: David A. Wilson, Bruce Leek Editing: Bruce Leek Digital mastering: Bruce Leek, Wilson Audiophile Mastering Lab; Provo, UT Cabling: CVT by MIT Cover design and layout: J. Troy Bankhead Fazioli piano: Baldisson Performance Pianos; Bountiful, UT High-resolution transfer: Produced by: Wilson Audiophile Recordings, LLC Original recording engineer: David A. Wilson Project manager: Daryl C. Wilson Analogue to high definition digital transfer: Bruce Brown, Puget Sound Studios Transfer editing: Bruce Brown, Puget Sound Studios Sonic evaluation: David A. Wilson, Sheryl Lee Wilson, Daryl C. Wilson Each master tape was inspected, cleaned and treated with Last #9 and #10 preservatives. All of the master tapes were baked to reformulate the binding. This was done in an incubator at 135 degrees and then they were left to cool back down to room temperature. All splices were inspected and repaired, if necessary. Each transfer was executed on the UltraMaster, a one-of-a-kind Studer A80 designed and built by John Curl with custom electronics. Each master tape was stored by Wilson Audiophile “tails-out” in which Puget Sound Studios did a library wind to the take-up reel. All levels were set according to included EQ sheets and each 1 kHz tone was further set at precisely 1 kHz, via a custom varispeed adjustment. This provided the exact speed the master tapes were recorded at. A total of five different analogue-to-digital converters were used to provide samples for the Wilsons to evaluate. Ultimately an EMM Labs ADC-8 Mk IV, custom modified by Andreas Koch, was chosen by Dave and Daryl Wilson for the transfers from the UltraMaster using the original master tapes into a Sonoma DSD workstation for capture and editing. Monitoring from the Sonoma DSD workstation was routed though a modified Playback Designs MPS-5 via USB-X with Light Harmonic USB cable. All DSD files were transferred into a Merging Technologies Pyramix DSD/DXD Masscore workstation for sample rate conversion, format conversion and metadata tagging. The Pyramix Hepta filter was used for conversion to PCM. Files were then listened to for quality assurance. Description of the equipment used in the Provo, Utah “Wilson Music Room” that Wilson Audiophile Recordings, LLC put to use for sonic evaluation: Speakers: Wilson Audio Alexandria XLF, two Thor’s Hammers Electronics: Apple Mac Mini, Amarra and Audirvana Plus, Weiss INT202, Audio Research DAC8, VTL 7.5 mk3 preamp, VTL Siegfried mk2 amplifiers, 2 Wilson Audio W.A.T.C.H. Controllers Cables: Audioquest Firewire, Transparent Opus

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