℗ 2014 Wilson Audiophile Recordings
| Released | October 1, 2014 |
| Duration | 50m 02s |
| Record Label | Wilson Audiophile Recordings |
| Catalogue No. | Wilson9128 |
| Genre | Classical (Chamber Music) |
Pieces for Clarinet and Piano: Schumann: Fantasy Pieces, Op. 73 - Brahms: Sonata in F Minor, Op. 120, No. 1 - Sonata in E-Flat Major, Op. 120, No. 2
Charles West, Susan Grace
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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Fantasy Pieces, Op. 73
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1.1
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No. 1. Zart und mit Ausdruck
Robert Schumann; Charles West; Susan Grace |
3:04 | |||
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1.2
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No. 2. Lebhaft, leicht
Robert Schumann; Charles West; Susan Grace |
3:13 | |||
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1.3
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No. 3. Rasch und mit Feuer
Robert Schumann; Charles West; Susan Grace |
3:59 | |||
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Sonata in F Minor, Op. 120, No. 1
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1.4
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I. Allegro appassionato
Johannes Brahms; Charles West; Susan Grace |
7:06 | |||
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1.5
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II. Andante un poco adagio
Johannes Brahms; Charles West; Susan Grace |
4:31 | |||
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1.6
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III. Allegretto grazioso
Johannes Brahms; Charles West; Susan Grace |
4:12 | |||
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1.7
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IV. Vivace
Johannes Brahms; Charles West; Susan Grace |
4:54 | |||
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Sonata in E-Flat Major, Op. 120, No. 2
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1.8
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I. Allegro amabile
Johannes Brahms; Charles West; Susan Grace |
7:35 | |||
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1.9
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II. Allegro appassionato
Johannes Brahms; Charles West; Susan Grace |
4:46 | |||
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1.10
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III. Andante con moto - Allegro
Johannes Brahms; Charles West; Susan Grace |
6:42 | |||
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Digital Booklet
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This is one of three albums Grammy nominated pianist Susan Grace made with Charles West, once called "the most recorded clarinetist in American academia." Originally released in 1990 and recorded at Skywalker Ranch, famous for its low noise floor and remarkable acoustics, this album achieves the Wilson Audiophile engineers goal to create the illusion that these two superb musicians are performing in your living room.
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. 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 Description of equipment and processes used for Master Tape transfers in Dave Wilson's Music Room: 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 & 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. 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 Description of equipment and processes used for Master Tape transfers in Dave Wilson's Music Room: 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 & 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
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.02 -6.86 to -0.74 | -22.35 -27.13 to -19.19 | -19.33 -24.10 to -16.30 | 12 10 to 13 | |
| 1 | No. 1. Zart und mit Ausdruck | -4.88 | -22.67 | -19.9 | 11 |
| 2 | No. 2. Lebhaft, leicht | -5.59 | -21.93 | -19.1 | 10 |
| 3 | No. 3. Rasch und mit Feuer | -1.43 | -19.19 | -16.3 | 11 |
| 4 | I. Allegro appassionato | -1.60 | -20.96 | -17.5 | 11 |
| 5 | II. Andante un poco adagio | -6.86 | -27.13 | -24.1 | 11 |
| 6 | III. Allegretto grazioso | -4.99 | -23.74 | -20.9 | 11 |
| 7 | IV. Vivace | -1.17 | -20.81 | -17.8 | 12 |
| 8 | I. Allegro amabile | -1.33 | -22.81 | -19.8 | 13 |
| 9 | II. Allegro appassionato | -1.65 | -21.46 | -18.3 | 12 |
| 10 | III. Andante con moto - Allegro | -0.74 | -22.82 | -19.6 | 13 |