This is going to be something very different. JF: What’s your favorite restaurant in NY City?ĭC: For Dim Sum, it's Jing Fong French is Jean Georges Italian is Vice Versa and French Bistro is Tout Va Bien.ĭC: My Concerto for Electric Guitar and Orchestra and my two ballets. And if you do not have a good hall, all the 24/192 is not going to help you. JF: What is, currently, your favorite recording venue in NY City? Why?ĭC: St Peter's, because it has a great sound to begin with. We have some nice tube amps and a lot of pro converters as well. JF: What does your audio system consist of?ĭC: We have so many different ones at the office. You are only as good as the source lets you be. JF: What do you feel is the greatest limitation in the playback chain?ĭC: It is the source material. But the music I want to hear is not performed live so much, so I need to have the best stereo to hear the music I enjoy. JF: What do you hear in live performances that you still don’t hear on your best recordings?ĭC: In a live performance it is a social thing and you hear with your eyes. In the future we will have 12 channels of something like 384. JF: Is 24/192 all we need to achieve the sonic potential of source material? Is 24/96 enough?ĭC: We can go and go and go. JF: Do you hear a difference between 24/96 and 24/192?ĭC: As you go farther up the differences diminish. Try an HD file off a hard drive and hear for yourself. We do not have the jitter and error correction that laser players have. JF: What do you say to those audiophiles that feel vinyl still sounds better than high-resolution music from HDtracks?ĭC: Digital has gotten a bum rap. Jeff Fritz: What do you hear with 24/96 that you don’t hear on 16/44.1?ĭavid Chesky: More air, extension, low-level detail.
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