℗ 2015 Wilson Audiophile Recordings
| Released | November 6, 2015 |
| Duration | 47m 08s |
| Record Label | Wilson Audiophile Recordings |
| Catalogue No. | Wilson9534 |
| Genre | Classical (Chamber Music) |
Contrasts in Concerts: Falla - Fauré - Kodály - Dvořák
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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Suite Populair Espagnole
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1.1
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I. El Paño moruno
Manuel de Falla; Roger Drinkall; Dian Baker |
2:26 | |||
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1.2
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II. Nana
Manuel de Falla; Roger Drinkall; Dian Baker |
3:07 | |||
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1.3
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III. Canción
Manuel de Falla; Roger Drinkall; Dian Baker |
1:34 | |||
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1.4
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IV. Polo
Manuel de Falla; Roger Drinkall; Dian Baker |
1:30 | |||
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1.5
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V. Asturiana
Manuel de Falla; Roger Drinkall; Dian Baker |
3:03 | |||
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1.6
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VI. Jota
Manuel de Falla; Roger Drinkall; Dian Baker |
3:12 | |||
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1.7
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Elegie in C Minor, Op. 24
Gabriel Fauré; Roger Drinkall; Dian Baker |
7:29 | |||
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Cello Sonata, Op. 4
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1.8
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I. Fantasia. Adagio di molto
Zoltán Kodály; Roger Drinkall; Dian Baker |
7:00 | |||
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1.9
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II. Allegro con spirito
Zoltán Kodály; Roger Drinkall; Dian Baker |
9:24 | |||
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1.10
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Polonaise for Cello and Piano in A Major, B. 94
Antonín Dvořák; Roger Drinkall; Dian Baker |
8:23 | |||
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Digital Booklet
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Cellist Roger Drinkall and his pianist wife Dian Baker, once one of America's leading duos, were proficient on an extensive repertoire, as they demonstrate on this 1995 album. The duo lovingly interprets iconic, unique and endearing works for cello by four composers, both sonatas and smaller works, including Dvořák's brilliant Polonaise in A Major.
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. Technical Notes: 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 Credits: Executive producer: Sheryl Lee Wilson Musical producer: Bruce Leek Production coordination: Daryl C. Wilson Technical direction: David A. Wilson Recording engineering: David A. Wilson, Bruce Leek Editing: Bruce Leek Original mastering: Bruce Leek, Wilson Audiophile Mastering Lab; Provo, UT 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 Cover design and layout: Daryl C. Wilson Fazioli piano: Baldisson Performance Pianos; Bountiful, UT Special thanks: Management of Maurice Abravanel Hall: Salt Lake City, UT; Bruce Brown, Puget Sound Studios; Gerri Sito, Page Turner High-Resolution Audio Credits: 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
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. Technical Notes: 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 Credits: Executive producer: Sheryl Lee Wilson Musical producer: Bruce Leek Production coordination: Daryl C. Wilson Technical direction: David A. Wilson Recording engineering: David A. Wilson, Bruce Leek Editing: Bruce Leek Original mastering: Bruce Leek, Wilson Audiophile Mastering Lab; Provo, UT 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 Cover design and layout: Daryl C. Wilson Fazioli piano: Baldisson Performance Pianos; Bountiful, UT Special thanks: Management of Maurice Abravanel Hall: Salt Lake City, UT; Bruce Brown, Puget Sound Studios; Gerri Sito, Page Turner High-Resolution Audio Credits: 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
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -14.28 -26.34 to -9.91 | -36.74 -47.02 to -30.62 | -33.61 -44.70 to -27.50 | 14 11 to 16 | |
| 1 | I. El Paño moruno | -12.43 | -34.94 | -32.2 | 14 |
| 2 | II. Nana | -26.34 | -47.02 | -44.7 | 12 |
| 3 | III. Canción | -12.49 | -34.41 | -31.5 | 13 |
| 4 | IV. Polo | -11.60 | -34.57 | -31.5 | 14 |
| 5 | V. Asturiana | -25.85 | -45.28 | -42.9 | 11 |
| 6 | VI. Jota | -10.05 | -30.62 | -27.5 | 14 |
| 7 | Elegie in C Minor, Op. 24 | -11.40 | -36.46 | -32.9 | 16 |
| 8 | I. Fantasia. Adagio di molto | -11.67 | -35.96 | -31.9 | 14 |
| 9 | II. Allegro con spirito | -10.99 | -34.90 | -30.6 | 15 |
| 10 | Polonaise for Cello and Piano in A Major, B. 94 | -9.91 | -33.28 | -30.4 | 15 |