℗ 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 / DSF high-resolution audio formats
Trio in A Minor for Piano, Cello and Clarinet, Op. 114 |
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1 |
I. Allegro Johannes Brahms; Charles West; Roger Drinkall; Dian Baker |
6:50 | |||
2 |
II. Adagio Johannes Brahms; Charles West; Roger Drinkall; Dian Baker |
7:29 | |||
3 |
III. Andante grazioso Johannes Brahms; Charles West; Roger Drinkall; Dian Baker |
3:55 | |||
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 |
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5 |
I. Allegro Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker |
9:07 | |||
6 |
II. Adagio Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker |
4:47 | |||
7 |
III. Allegretto Ludwig van Beethoven; Charles West; Roger Drinkall; Dian Baker |
7:05 | |||
Digital Booklet |
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Total Playing Time 43:20
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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
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