Stockfisch - SFR 357.8011.1 - 180 Gram Virgin Vinyl
Mastering by Hans-Jorg Maucksch at Pauler Acoustics - Pressed in Germany
The Absolute Sound Super Disc List 2016 TAS Harry Pearson Super LP List
This Audiophile Direct Metal Mastered Heavy Weight 180g Vinyl LP contains ten selections from Sara K.'s previous albums, including studio as well as live recordings!
Sara K. is in a class all her own. This singer is gifted with the rare ability of having an emotional grasp of the listener by virtue of her spontaneous and intensive aura that casts a spell on her audience. All her records have received several high-caliber awards, including a number of jazz awards.
The death-bells started ringing for the vinyl LP in 1982, the year in which the digital audio compact disc first appeared on the market, but in spite of all the doom 'n' gloom forecasts the vinyl LP has proved to be a true survivor. Regardless of all the constantly developing new techniques and formats in the field of music reproduction, the LP exists to this day and is valued highly by many listeners.
The vinyl LP normally has two sides of music - and Sara K. presents two sides of her musical artistry. On the one side we have her impressive and very convincing (solo) live concerts, where she fascinates her audience solely with her unique voice and her almost fragile-sounding accompaniment on the 4-string guitar. On the other side there are her beautiful studio recordings, where a whole range of musicians complement her pieces with an endless palette of musical styles, instruments and ideas: from concert harp, string quartet and accordion through to fretless bass, tuba and piano.
Stockfisch wanted to document these two sides of her work on the second release in their "In the Groove" series: an audiophile 180g vinyl LP, recorded onto vinyl using their own Neumann VMS-82 Direct-Metal-Mastering (DMM) cutting lathe.
"I am pleased to offer you this collection of songs on vinyl. We carefully selected these songs from my catalogue, previously only available on digital formats. I hope you will enjoy it..." - Sara K.
DMM Disc Cutting by Hendrik Pauler on a Neumann VMS-82. Mastering by Hans-Jorg Maucksch at Pauler Acoustics. Mastering Monitors: Bowers & Wilkins 801 D.
Heavy Weight High Quality 180 Gram Audiophile Vinyl
Gatefold Full-Color Matte Jacket
Direct Metal Master Cut Vinyl
DMM Disc Cutting by Hendrik Pauler on a Neumann VMS-82
Made in Germany
Side A: Studio Side
1. I Can't Stand the Rain (from Hell or High Water)
2. Sizzlin' (from Made In the Shade)
3. Curtain Calls (from Hell or High Water)
4. Streetlight's On (from Hell or High Water)
5. Don't I Know You From Somewhere? (edited version) (from Made In the Shade)
Side B: Live Side
1. Stop Those Bells (edited version) (from Live In Concert - Are We There Yet?)
2. Water Falls (from Live In Concert - Are We There Yet?)
3. (Would You) Break My Heart (from Live In Concert - Are We There Yet?)
4. Gypsy Eyes (from Don't I Know You From Somewhere?)
5. What Matters (edited version) (from DVD: Nautilus Tour 2002)
We at Pauler Acoustics have developed a new record format (DMM-CD), which contains only the desired sound and typical tonal qualities of a vinyl record. Our method is based on the fact that the "vinyl sound" in the first place is created as a result of transferring an analogue or digital master on to a copper-coated stainless steel disk (Direct Metal Mastering).
The crucial step to DMM-CD:
Our Neumann VMS-82 cutting lathe functions as the original record player, because after the cutting process, we leave the copper master on the lathe held firmly by vacuum suction. This way the disc has no vertical or lateral movement, which would affect the tracking of the pick-up stylus.
Using the best possible components, we play back the signal from the freshly cut groove. The components used are: an EMT TSD-15 Pick-up, a factory built special version of EMT’s legendary Broadcast TONDOSE TSD-15 and incorporates a diamond made from a square natural rod. This diamond is refined with a highly sophisticated shape with multiple facets resulting in a frontal parabola measuring 17 x 25 µ. This diamond quality secures not only very little distortion, but also very low FIM (Frequency Intermodulation Distortion). Moreover we decided to use an EMT 997 pick up arm and a top of the range EMT JPA66 valve pre-amplifier. With critical listening tests, this combination has proven to us to be the optimal chain when it comes to obtaining a sound as close as possible to the master.
The output of the JPA66 cutting curve equalizer transfers the analog signal to the A/D converter, a "Meitner EMM Labs adc 8 MK IV". This is still regarded as a reference for the best possible conversion to the 1-bit Direct Stream Digital format. The DSD signal is then recorded at a sampling rate of 2.8224 MHz on to our SADiE DSD8 mastering system. Later, on the finished Hybrid-SACD, you will find this true 1-bit DSD layer and also a generated CD format at 16-bit/44,1kHz.
To enhance the tonal quality of the DMM transfer for the DMM-CD, we cut the music programme at 45 rpm, and basically only use the area between the two zero crossings of the cartridge arm. This is the area where the geometry of the pick-up arm is optimal. However, this decision costs a few copper blanks more, as it reduces the running time per side as opposed to the pressed vinyl LP.
With this new sophisticated process, a new digital recording media (DMM-CD) has emerged retaining the original sound of a Vinyl-LP but without the unwanted side effects. The DMM-CD/SACD gives you the direct sound of the DMM Copper cut - without having to go through the stages of pressing a record.
Direct Metal Mastering is a quality term for authentic records dubbing. We have deliberately opted for the then current state of the template cutting technology - just before the CD 1982 their (alleged) triumphant launched.
The DMM copper master knows no pre-echoes and no loss of high frequencies, provides longer seasons and has much less noise than a cut in nitro lacquer film "Urschallplatte". A reduced electroplating DMM dies in the pressing plant also benefits the quality and the price.
Hendrik Pauler is home Pauler Acoustics / stockfish specializes in the demanding process of records dubbing. Here the stockfish vinyl productions are not only cut, but also numerous other labels use the long-standing experience in Disc Cutting Pauler Acoustics. In Northeim the Direct Metal Mastering system VMS 82 of the Berlin company NEUMANN is used for.
DMM Cutting-Head SX84
How does a DMM matrices-cutting process in detail?
Before the actual cut the dubbing parameters must be determined in a trial run. Depending on the length of the program, from its frequency response - especially in the bass range, depending on the phase correlation and in particular determines it is by the dynamics of the stereo signal, define important values for VMS-82: the feed rate of the diamond stylus, the groove depth and the dubbing level.
Today, the advantages of the so-called Füllschrift method are used for the record section. If one were to renounce this technique, the Stichelvorschub would be constant and the groove spacing would have on the maximum deflection, so the loudest part addressed in the program somewhere. So much space would presented on the plate and the entire duration of one side would be extremely short.
Pauler Acoustics - cutting studio
The cutting head, the music must for Füllschrift process first, so to speak "learn" before he can cut into the copper plate. For this, the signal is the cutting system leaked twice in quick succession. The cue tells the system how much the displacement will be in the next groove. The second, time-delayed signal is then sent to the cutting box SX-84. The groove pitch will therefore be less great when quieter program than on loud signals. It dynamically adapts to the music parameters.
The test run will take place in real time. The cutting system is started and is running - though still without the copper matrix. When the sample program rehearsed for a page found a sensible and efficient use of space, the actual cut can begin.
DMM Cutting Lathe VMS 82
The stainless steel carrier of 0.1 mm provided with a microcrystalline layer of copper is placed on the plate of the VMS-82. A vacuum pump draws in the blank flat on the cutting plate firmly. The diamond is lowered and cuts the subsequent lead-in groove of the record. Now the music player device is started. The modulation start is recognized by the cutting system and when music is played, the automatic FAST switched to the normal Füllschrift feed. The diamond cuts now in copper the record groove exactly as it will enable even later in the pressed vinyl record the stylus in the correct analog vibrations.
After the last track of Cutting Engineer on the groove pitch in the spiral form of the escape groove. Subsequently, the cutting can automatically moves to the copper center and Raut there with extremely fine grooves on the surface to which the label will be glued later during the pressing process. At the end of the cutting process, it is still personal: In order for the die in the pressing plant can be clearly assigned, scratches on the disc Cutting Engineer catalog number in the free area of the escape groove and additionally records with his initials. This identifier can find the listener a record later on closer inspection.
For more than 30 years, the Stockfisch label has been releasing the work of well and not-so-well known artists from the European guitar scene, the 70's Folk revival and has paid special attention to the singer/songwriter scene!Stockfish is known for producing some of the best audiophile recordings in the world. This includes first-rate recordings on vinyl, SACD and CD Audio. Only the finest microphones, recording equipment and techniques are used in the production of Stockfisch's phenomenal catalog of music.