David Chesky: Best of Chesky Classics & Jazz and Audiophile Test Disk (Volume 3) CD Track Listing

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David Chesky Best of Chesky Classics & Jazz and Audiophile Test Disk (Volume 3)
PART ONE: THE MUSIC\nWe have arranged this special collection of Chesky artists in a concert format for your enjoyment.\nMany different musical forms are represented on this compact disk, but they all work together-proof that good acoustic music has more commonality than divergence.\nJust put this compact disk in your player, sit back and enjoy!\n\n===\n\nPART TWO: AUDIO DEMONSTRATIONS AND TECHNICAL TESTS\n\n12-33 A GUIDED TOUR THROUGH THE AUDIOPHILE WORLD\nAnnouncer John Henry takes you through the world of stereo microphone techniques, artificial and natural space, artificial and natural imaging, and introduces you to our new 20-bit high resolution recording process.\nListen to these tracks now, then return at your leisure to the printed notes for a more detailed information.\nIntroduction:\nThe Natural vs. The Artificial\nChesky Records takes pride in using the finest electronics and microphones (all custom-built), a great-sounding halls, and minimalist microphone techniques.\nWe don't overdub musicians (overdubbing can dilute the natural space and imaging of recording).\nThe soundstage on our recordings is achieved through natural, not electronic means.\nWe spend hours (and sometimes days) choosing microphones and halls, positioning musicians, until the sound is just right.\nTo our knowledge, no other record company goes through this painstaking process to create jazz or popular music recordings - we do it because we want to keep acoustic music alive.\nAnd we promise we'll never stray from this goal.\nNevertheless, we're always keeping our ear open to the latest digital techniques to create artificial space and artificial imaging.\nSometimes we dream... a "room in a box" (at the push of a button) is the engineer's dream.\nWill that ever be possible?\nThat's why we're asking the big question: Is it possible to create a convincing artificial audio environment?\nThe answers are right here on this CD... take a listen.\n\n34-45 ADDITIONAL TECHNICAL TESTS AND DEMONSTRATIONS\n\n===\n\n\nProduced by David Chesky\nExecutive Producer: Norman Chesky\nAudio demonstrations and technical tests produced by David Chesky, Bob Katz and Steve Guttenberg\n\nRecorded by Bob Katz, except #4 by Jeremy Kipnis\nAssistant Producer: Steve Guttenberg\nAssistant Engineers: Jeremi Kipniz, Peter Cho, Suzanne Hollander, David Windmuller, David Memill (Mastersound Engineer)\n\nPerformances edited by Jeremy Kipnis, Miguel Kertsman, and A.T. Michael MacDonald\n\nAnnouncer: John Henry\n\nProject Director: Roy Spangenthal\nA&R Director: Steve Kaiser\nTechnical Director: Bob Katz\nProduction Assistant: David Rubin\n\nCover Illustration & Design: Ross Hudson\n\nAlbum compilation, demonstrations, and technical tests edited/mastered by Bob Katz at Digital Domain, NYC\n\nTechnical Consultant: George Kaye\n\nRecorded using the 128x oversampling A to D Mark III and Mark IV converters with ultra analog modules and vacuum tube equipment built by George Kaye.\n\nTo receive The Chesky Record newsletter or a Chesky Records catalog, please write to:\nChesky Records, P.O. Box 1268, Radio City Station, New York, NY 10101\n\nJD 111 Digital DDD\n(C)1994\n
This classical cd contains 45 tracks and runs 76min 31sec.
Freedb: b311ed2d

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: Music

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: music songs tracks classical

1. David Chesky - Ana Caram / Africando (03:44)
   from the album Maracana-JD104\nby Lula Barbosa and Wismar Rabello. Caram Music (BMI)\n\nAna Caram, vocals and guitar;\nCliff Korman, piano and synthesizer;\nDavid Finck, bass;\nRomero Lubambo, guitar;\nDuduka da Fonseca, drums and percussion;\nSteve Sacks
2. David Chesky - Livingston Taylor / Out Of This World (02:40)
   from the album Good Friends-JD97\nby Livingston Taylor and Maggie Taylor, Morgan Creek Music (ASCAP)\n\nLivingston Taylor, vocals, guitar, keyboards;\nJoel Diamond, arranger, piano;\nGeorge Naha, guitar;\nDavid Finck, bass;\nGary Burke, drums;\nLawrence F
3. David Chesky - Leny Andrade / Wave (05:50)
   from the album Maiden Voyage-JD113\nby Antonio Carlos Jobim. Corcovado Music (BMI)\n\nLeny Andrade, vocals;\nFred Hersch, piano and arranger;\nDavid Dunaway, bass*;\nHelio Schiavo, drums*.\nProduced by David Chesky and Fred Hersch.\n\nWe are proud to pres
4. David Chesky - Connecticut Early Music Festival Ensemble, Igor Kipnis, harpsichord and director. / Winter, Vivaldi from The Four Seasons, Allegro Non Molto (03:27)
   From the album The Four Seasons-CD78\nProduced by David Chesky and Jeremy R. Kipnis.\n\nThe Festival performers bring out the vitality and life in Vivaldi's music. This is one of the most dynamic performances of The Four Seasons we've heard, yet it is per
5. David Chesky - Rebecca Pidgeon / Grandmother (06:25)
   from the album The Raven-JD115\nby Rebecca Pidgeon, Blue Mountain Music, LTD (PRS)\n\nRebecca Pidgeon, vocals, guitar, background vocal arrangements;\nJoel Diamond, piano, musical director and arranger;\nGeorge Naha, guitar;\nAnthony Coote, guitar;\nMitch
6. David Chesky - Orquesta Nova / Battery Park (05:08)
   from the album Salon New York-JD86\nby Carlos Franzetti. Pototo Music (BMI)\n\nCarlos Franzetti, piano;Juliet Haffner, viola;\nGary Schocker, flute;\nDavid Finck, bass;\nGuillermo Figueroa, first violin;\nRobert Chausow, second violin;\nErik Friedlander,
7. David Chesky - Laverne Butler / I Cover The Waterfront (06:06)
   from the album No Looking Back-JD91\nby John Green and Ed Hayman. Warner Bros. Music Inc. (ASCAP)\n\nMike Renzi, piano and arranger;\nJoe Henderson, tenor sax;\nChris Potter, tenor sax*;\nJon Faddis, trumpet*;\nJoe Magnarelli, trumpet*;\nRomero Lubambo, a
8. David Chesky - Sara K. / Horse I Used To Ride (04:26)
   from the album Play On Words-JD105\nby Sara K. Sarak Music (BMI) & Coconut Bay Music (BMI)\n\nSara K., vocals and four string guitar;\nJoel Diamond, piano and musical director;\nGeorge Naha, guitar;\nBruce Dunlap, guitar*;\nLarry Campbell, slide guitar*;\
9. David Chesky - Fred Hersch / Trio Con Alma (05:56)
   from the album Fred Hersch Plays: Coleman, Coltrane, Davis, Ellington, Gillespie, Hersch, Hancock, Monk, Rollins, Shorter,Strayhorn-JD116\nby Dizzi Gillespie. Dizio Music Corp. (ASCAP)\n\nFred Hersch, piano;\nDrew Gress, bass;\nTom Rainey, drums.\n\nThis
10. David Chesky - Badi Assad / Num Pagode Em Plalantina (04:41)
    from the album Solo-JD99\nby Marco Pereira. Som da Gente Records, Inc. (BMI)\n\nBadi Assad, vocals, guitar, mouth percussion and sound effects.\n\nThis young Brazilian lady is a classical guitarist of the first rank, and an inventive performance artist wh
11. David Chesky - Westminster Choir, Joseph Flummerfelt, conductor. / Ave Verum Corpus, Mozart (03:39)
    from the album O Magnum Mysterium-CD83\n\nFor this recording, world-reknowned conductor Dr. Joseph Flummerfelt has reunited some of The Westminster Choir's most talented singers from recent years, performing both with organ and unaccompanied at the acoust
12. David Chesky - Artificial Stereo and Microphone Techniques / Introduction, Artificial Stereo (01:25)
    In this track, we play with announcer John Henry's voice in a couple of interesting ways. One of them is a very subtle artificial stereo algorithm. That's right - artificial stereo. Today's digital methods of generating artificial stereo are far more adva
13. David Chesky - Artificial Stereo and Microphone Techniques / Mono Mike (00:38)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
14. David Chesky - Artificial Stereo and Microphone Techniques / Artificial Stereo (00:46)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
15. David Chesky - Artificial Stereo and Microphone Techniques / XY Cardioid Technique (00:40)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
16. David Chesky - Artificial Stereo and Microphone Techniques / XY and added ambience (00:43)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
17. David Chesky - Artificial Stereo and Microphone Techniques / XY with increased ambience (00:45)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
18. David Chesky - Artificial Stereo and Microphone Techniques / Crossed Figure8's (00:47)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
19. David Chesky - Artificial Stereo and Microphone Techniques / Spaced Pair of Omnis (00:41)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
20. David Chesky - Artificial Stereo and Microphone Techniques / Three Spaced Omnis (00:43)
    13-20 Microphone Technique Demonstration:\nSimple microphone techniques aren't so simple. The recording engineer must choose from ten to twenty different techniques and their variants, typically using two to five microphones. Each technique has its virtue
21. David Chesky - Instrument Placement / Announcement (00:14)
    After deciding which microphones to use, the engineer must place the musicians relative to the walls of the studio. To illustrate the dilemma, we recorded a piano close to the back wall of the studio (22), then we moved the piano into the middle of the st
22. David Chesky - Instrument Placement / Piano against the wall of the studio (00:24)
    After deciding which microphones to use, the engineer must place the musicians relative to the walls of the studio. To illustrate the dilemma, we recorded a piano close to the back wall of the studio (22), then we moved the piano into the middle of the st
23. David Chesky - Instrument Placement / Piano in the middle of studio (00:16)
    After deciding which microphones to use, the engineer must place the musicians relative to the walls of the studio. To illustrate the dilemma, we recorded a piano close to the back wall of the studio (22), then we moved the piano into the middle of the st
24. David Chesky - Natural vs. Artificial Space / Announcement (00:23)
    We have a unique opportunity to make a demonstration that has never been done before. This is the first time the quality of an artificial reverb chamber can be effectively compared to the sound of a large live hall, with the same performer,and the identic
25. David Chesky - Natural vs. Artificial Space / Drum set recorded in a dry studio (01:00)
    We have a unique opportunity to make a demonstration that has never been done before. This is the first time the quality of an artificial reverb chamber can be effectively compared to the sound of a large live hall, with the same performer,and the identic
26. David Chesky - Natural vs. Artificial Space / Drum set in a live studio (00:52)
    We have a unique opportunity to make a demonstration that has never been done before. This is the first time the quality of an artificial reverb chamber can be effectively compared to the sound of a large live hall, with the same performer,and the identic
27. David Chesky - Natural vs. Artificial Space / Drum set with artificial reverbaration (00:45)
    We have a unique opportunity to make a demonstration that has never been done before. This is the first time the quality of an artificial reverb chamber can be effectively compared to the sound of a large live hall, with the same performer,and the identic
28. David Chesky - Natural vs. Artificial Imaging / Natural stereo imaging (01:44)
    Track 28 illustrates the natural imaging "decoded" by a Blumein microphone pair in a live studio. A tom-tom drum is played at different angles relative to the stereo mike: left, center, right, extreme left and extreme right. Then we asked our drummer to r
29. David Chesky - Natural vs. Artificial Imaging / Artificial stereo imaging (01:28)
    Track 28 illustrates the natural imaging "decoded" by a Blumein microphone pair in a live studio. A tom-tom drum is played at different angles relative to the stereo mike: left, center, right, extreme left and extreme right. Then we asked our drummer to r
30. David Chesky - Natural vs. Compressed Dynamics / Introduction to compressors (00:57)
    Chesky Records is also dedicated to preserving the dynamic range of acoustic music. We always leave enough "headroom" in our recordings for those natural transients to occur. This requires a medium with tremendous dynamic range, now provided by our 20-bit
31. David Chesky - Natural vs. Compressed Dynamics / Jazz group with compression (00:15)
    Chesky Records is also dedicated to preserving the dynamic range of acoustic music. We always leave enough "headroom" in our recordings for those natural transients to occur. This requires a medium with tremendous dynamic range, now provided by our 20-bit
32. David Chesky - Natural vs. Compressed Dynamics / Jazz group without compression (00:14)
    Chesky Records is also dedicated to preserving the dynamic range of acoustic music. We always leave enough "headroom" in our recordings for those natural transients to occur. This requires a medium with tremendous dynamic range, now provided by our 20-bit
33. David Chesky - New 20-bit High Resolution Technology / Introduction (02:04)
    Lately, much has been written about 20-bit recording. 20-bit is not new to Chesky. In 1988, we built the world's first practical 20-bit A to D converter, which runs 128 times the standard sampling rate of 44.1 KHz. Since that time, you have been enjoying
34. David Chesky - Dirty vs. Clean power / Violin recorded with "dirty" power. (00:24)
    We bring a tremendous amount of equipment to a recording location, including a set of power isolation transformers and filters. They help keep our grounding clean, our power clean, and isolate analog from digital power. We asked a solo violinist to perfor
35. David Chesky - Dirty vs. Clean power / Violin recorded with "clean" power. (00:24)
    We bring a tremendous amount of equipment to a recording location, including a set of power isolation transformers and filters. They help keep our grounding clean, our power clean, and isolate analog from digital power. We asked a solo violinist to perfor
36. David Chesky - Digital vs. Analog tape / 20-bit, all digital recording (00:43)
    Some people prefer making an analog tape recording first, then transferring to digital later. There are many legitimate questions to bring up, including whether the 3rd harmonic distortion (and hiss) of the analog recording adds a euphonic coloration that
37. David Chesky - Digital vs. Analog tape / 20-bit recordind made from analog tape (00:44)
    Some people prefer making an analog tape recording first, then transferring to digital later. There are many legitimate questions to bring up, including whether the 3rd harmonic distortion (and hiss) of the analog recording adds a euphonic coloration that
38. David Chesky - Chesky / Equipment and Cable Burn-in Signal (01:07)
    Good speaker design engineers know that new drivers straight from the factory sound very different than drivers that have been broken-in. Here is a track you can use to break in your speaker drivers and all the other equipment in your system. Just set you
39. David Chesky - Volume Level Warning / WARNING! The rest of this CD is recorded at low level. (00:09)
    You may wish to turn up your monitor volume to properly evaluate these tests. To prevent transducer (and ear) damage, be sure to return your volume control to normal after these test are completed.\n
40. David Chesky - 16 bit vs. 20 bit AD / Music at -30dB into 16 bit system (00:45)
    Two identical sources (Dolby SR tape), recorded with old versus new technology. The identical A/D converter was used. Track 40 is recorded at -30dB, through the converter set with16-bit standard dither, output to this CD without any additional dither. Tra
41. David Chesky - 16 bit vs. 20 bit AD / Music at -30dB into 20 bit with high resolution dither (00:41)
    Two identical sources (Dolby SR tape), recorded with old versus new technology. The identical A/D converter was used. Track 40 is recorded at -30dB, through the converter set with16-bit standard dither, output to this CD without any additional dither. Tra
42. David Chesky - Fade To Noise (low level resolution) Tests / Fade To Noise, no dither (00:18)
    Each of these tests present a 1 kHz digitally-generated sinewave, faded from -60dB to -120dB at a calibrated rate of 2dB per second (total 30 seconds). In other words, at 10 seconds, the level will be -80dB, and so on. Therefore, without any test equipmen
43. David Chesky - Fade To Noise (low level resolution) Tests / Fade To Noise, flat dither (00:30)
    Each of these tests present a 1 kHz digitally-generated sinewave, faded from -60dB to -120dB at a calibrated rate of 2dB per second (total 30 seconds). In other words, at 10 seconds, the level will be -80dB, and so on. Therefore, without any test equipmen
44. David Chesky - Fade To Noise (low level resolution) Tests / Fade To Noise, high resolution dither (00:31)
    Each of these tests present a 1 kHz digitally-generated sinewave, faded from -60dB to -120dB at a calibrated rate of 2dB per second (total 30 seconds). In other words, at 10 seconds, the level will be -80dB, and so on. Therefore, without any test equipmen
45. David Chesky - Volume Level Warning / WARNING! Turn your monitor volume down to normal after these tests! (00:05)
    We hope you enjoyed this sampler and test CD from Chesky Records. We're working hard to bring you even better sounding recordings in the future.\n