Page 1






>>It‘s time to get excited! Sound quality rules. Dear Customer, welcome to our first HiQ-newsletter. Thank you very much for finding trust and interest in our service and platform. Quality music and great music playback equipment play a major role in today‘s audio world - we believe. Finally it is possible to hear, feel and enjoy the aura and musical emotion of the musician that was captured in a recording. The limitation to experience this, was the unavailable source material and the affordable technology to bring this sound quality and sonic experience home. Every piece in today‘s high quality audio equipment chain - has reached nearly perfection. So, it was inevitable and our mission to start a company, that prepares the source material for commercial release - for you to enjoy.

interest from a lot of smaller labels and artists is huge and continues to grow daily - for great music to come.

Two years ago we have never dreamed of, that it would be so difficult to convince the music industry, that digital High-Res-Audio downloads offer a sustainable business and has a chance to succeed and position High-Res-Audio downloads against the market trend of heavily compressed music and streaming flat rates. Well, we finally signed a deal with Universal Music Group and the future for High-ResAudio sounds clearer and better than ever before. Checkout the releases from Diana Krall, Herbie Hancock, John Coltrane, Duke Ellington and many more. The support and

Wishing you a joyful, happy and peaceful Christmas


As musicians and audio engineers, we cherish what we do and we bring the necessary professional background, knowhow and understanding with us. Our high-quality standards guarantee that you will always purchase the original and native studio master source from us. We are selective with the repertoire that we offer. We do cherry-pick, pre-listen and measure to every album. So, please bare with us, if we do not release new albums every day. „Music can put a smile on our faces, make us feel good and even stimulate our senses for a healthier life - indulge yourself.“

Lothar Kerestedjian and the HIGHRESAUDIO Team I hope you don‘t mind, that we have sent you our first newsletter. In case you do not appreciate our mailing, than please drop us a short E-mail at / Delete me from your mailing list.

“We encourage music lovers everywhere - to become audiophiles.”

>>Highly Recommended Horenstein Ensemble „Tempelhof“ The vision of transcending boundaries and searching for innovative new ways to make music and present art and music serves as inspiration and impetus for the group.

>> More about this album The Horenstein Ensemble wants to present the great diversity of chamber music and the interplay of various instrument types such as strings, winds and harp. The members of the ensemble, all musicians of the Konzerthausorchester Berlin, all strive to produce in their interpretations the best possible sound with many layers of colour, or freely adapted from the words of Leopold Stokowski: “Sound, good sound, is paramount” The listener is presented with works of great variety, yet the proximity of the works is also apparent. The four works were all composed within 25 years of each other, and the musical language, character (one could almost attribute a unifying sound to all the pieces) and chamber music gesture are all closely related. Having said that, each of these pieces has its own special tone, each one achieving a new balance between the archaic and the modern. Also, each of the four pieces has its own specific instrumentation which lends it its own individual taste.

Varying and sometimes unusual combinations of instruments are a distinguishing character trait of the ensemble, whose interests are not limited to a specific era. Guest artists expand the number of combinations possible and in this way enrich the group. Their repertoire includes the works of every period of music: Rameau, Mozart, Spohr, Brahms, Ravel, Messiaen, Widmann and Yun, and many more. The ensemble is also dedicated to performing English chamber music which is seldom heard in Germany, such as the compositions of Vaughan Williams, Bax, Elgar, Somervell, Arnold and Britten. At the same time, close cooperation with composers of our time (Samir Odeh-Tamimi among others) has resulted in commissioned works for the special instrumentation of the ensemble. Another goal is cooperation with artists of other genres. The Swiss video artist Peter Aerschmann collaborated with the Horenstein Ensemble with his Video-Loop ”Denn alles Fleisch es ist wie Gras” (”For all flesh is as grass”).

About the Horenstein Ensemble. The ensemble is named in honour of the work of conductor Jascha Horenstein, who had a strong connection to Berlin and often conducted the Berlin State Opera and the Berlin Philharmonic. The Horenstein Ensemble would like to present the great diversity of chamber music and the interplay of various instrument types such as strings, winds and harp. Early music, contemporary music, standard repertoire and rarities all play a role. The members of the ensemble, all musicians of the Konzerthausorchester Berlin, all strive to produce in their interpretations the best possible sound with many layers of colour, or freely adapted from the words of Leopold Stokowski: ”Sound, good sound, is paramount”.


“We encourage music lovers everywhere - to become audiophiles.”

>>Highly Recommended Benjamin Grosvenor: Chopin, Liszt & Ravel „Grosvenor's balance of oratory and ornament, gesture and poetry – evident, too, in Ravel's Gaspard de la nuit – are moving as well as impressive. He's a phenomenon: modest, poised and natural, as well as brimming with talent.“ Fiona Maddocks, The Observer

>> More about this album Benjamin Grosvenor's highly anticipated first album on Decca is out on Studio Master at The young pianist, who turned 19 a few days before the release, continues to play with the brilliant technical facility and musical maturity that captured attention when he won the Piano section of the BBC Young Musician Award at age 11 in 2004. With only one previous album, "This and That" - a compilation that was not widely distributed (it was released on the B&W Online Music Club before being reissued on Grosvenor's own label Galton Productions) - Grosvenor now has the potential to reach the kind of audience that this level of artistry warrants thanks to his exclusive contract with Decca. If this current disc is anything to go by, there will be some great performances coming our way. Decca's promo video for the album, with some interesting statements from the pianist and clips of his playing (it is a bit unfortunate that they show the end of Scarbo as opposed to another section), shows the label's great interest in promoting the first British pianist to sign to the label since Moura Lympany and Clifford Curzon. The current program bridges Chopin and Ravel via Liszt - brilliant programming, as Liszt was a true link between the other two composers of groundbreaking piano music. Grosvenor delivers Chopin's Four Scherzi in non-sequential order and interspersed with Nocturnes (the kind of programming Lipatti would do). Two Chopin songs arranged by Liszt lead into a seldom-played Liszt work, En Reve, before Ravel's legendary oeuvre Gaspard de la Nuit closes the program. Grosvenor is a pianist who grasps the full spectrum of Romantic sensibilities: the music from this era is not all moonlit dreams and fields of flowers, and as some recordings


by some of the legendary pianists of the 19th century demonstrate, there are darker undertones in the music of Chopin and Liszt. Grosvenor does not shy away from nor inappropriately highlight any of these qualities. Melodic lines are clearly shaped, harmonic shifts are attended to with care, tonal quality is never ignored: he can play a grand fortissimo without breaking the tone, and clearly articulate a pianissimo where his hands barely seem to touch the keys yet his tone is still full. He will occasionally play with less pedal than is the norm, which is not only entirely appropriate but also in keeping with recorded evidence of the golden age pianists. Conventional listeners may be too dazzled by his virtuosity to notice such nuances, while others may be startled by his boldness, but this is of little importance: Grosvenor's style is thoroughly musical and grounded in authentic Romantic tradition. In the First of the Scherzi, he beautifully balances lyrical passages with a wilder approach to the runs that is nevertheless never less than sensitive, whereas one of the highlights of the Second is his voice-leading in the middle section, quite different from the norm, with rhythmic figurations complementing rather than being part of the primary melodic line. The glittering cascades in the Third are as dazzling as could be expected, with a warm glow and surrounding melodic subjects perfectly poised, and the runs in the Fourth are stunningly nuanced with marvelous pedal control, while the middle section features some masterful highlighting of inner voices. In the three Nocturnes he presents, Grosvenor avoids lapsing into the sentimentality that is part of the artistic downfall of so many artists his age. The 95-year-old Hungarian pianist Livia Rev recently stated that so many young musicians try to communicate emotions that they

“We encourage music lovers everywhere - to become audiophiles.”

haven't felt yet and we can sense it right away. This is not the case here, and it is not just the technical side of Grosvenor's performances that is arresting but its mature emotional content: there is an emotional breadth that can be breathtaking. His timing is impeccable, his phrasing architecturally balanced, his dynamic range bolder than the average seasoned pianist. The three offerings by Liszt - arrangements of two Chopin songs and his own En Reve - give Grosvenor more opportunities to demonstrate how virtuosity and musicality need not be antithetical to one another. The Maiden's Wish is particularly captivating, with extra runs that are fully in keeping with the Romantic tradition of pianism of which Grosvenor seems to be a proponent. Gaspard is not only a supremely challenging work for the hands, but conceptually it is frequently misunderstood. While many conservatory students older than Grosvenor will choose the work as a showpiece, he enters deeply into the essence of the work and delivers magnificently. Ondine shimmers seductively and Le Gibet is eerily frightening with its sinisterly voiced chords, but Scarbo is where Grosvenor's individuality shines through most. I must confess that my first impression was less than enthusiastic - I was startled by the breakneck speed and seemingly inconsistent phrasing - but as I listened again, I sensed that the pianist was tuning more into the chaotic, wild nature of the creature depicted in the poem that inspired the work than using the work as an opportunity to show off his technical prowess. The sudden surges and shifts are more frightening than in any version I've heard, and yet there is beauty and attention in the tone, phrasing, and nuances that are evidence that Grosvenor's conception is hardly as haphazard as the quixotic music and random outbursts might lead one to conclude. This, said one pianist for whom I played the recording, is a reading that is individual without being self-absorbed or going against the composer's intentions. The playing on this disc is some of the best you will hear of these works and bears repeated listening - indeed, it demands it. It is the kind of playing that makes it difficult to multi-task, so magnetic is its pull. If Grosvenor continues to produce albums of this calibre, he will not only be expressing his uniquely formed talents, he will be doing a great service to the art of music and the memory of the composers who sought to communicate their message. On YouTube: Benjamin Grosvenor - Interview

>>More fantastic Decca releases here:


“We encourage music lovers everywhere - to become audiophiles.�


>>Native resolution! 100% guaranteed. The high-resolution music, that you purchase from us is guaranteed native (true original) 24-bit HighResAudio Studio Master material. We have signed with all music labels, artists and artist-agencies contracts to assure exactly that. We do not accept nor offer up-sampled or converted material. Our quality-control checks and evaluates each album with a professional studio software! You will receive and buy only true original 24-bit HighResAudio "Studio Master" files from us. True, native High Resolution Audio Format means that during recording, the fine structures contained in the music signal are adequately resolved per unit of time. A true music signal recorded with microphones contains sensitive temporal information in the 45-50 kHz frequency range. For certain instruments (for example, trumpet with straight mute) and above all for percussive sounds, this range can be higher. The transfer of fine information is not possible with equipment which uses 22 kHz frequency bandwidth (CD) or 24 kHz bandwidth (the industry and radio standard).

If the level drops to values in the area of the theoretical minimum of 24bit, which is 138-144bit, then we can say that simple digital up-sampling was used. If the level drops to significantly higher values 80-120dB and is evenly distributed like white noise or if material even shows a small increase in the noise level at 176.4kHz or 192kHz starting at ca. 50 kHz, then analogue mastering was followed by native high resolution A/D conversion (many A/ D converters for 176.4kHz and 192kHz show this increase in the noise level near their threshold frequency). Although this is not true native, the quality can be even better than the standard version. If the noise level increases significantly immediately before the break-off point (starting at ca. 25-28 kHz), then it is most likely SACD material, which is itself a fake, since it was pre-produced using 44.1kHz or 48kHz. This is probably true for most SACDs, especially for radio-(co)productions, since 48kHz is still standard there. This kind of material is also frequently found on the market as 88.2kHz or 96kHz. It can be better than a CD, but actually has nothing to do with native high resolution audio.

Reduced bandwidth always means physically insurmountable, reduced temporal resolution. Therefore, true high resolution material may not be compressed to 22 kHz or 24 kHz in any part of the production process. HRA checks the music given with spectral analysis to see whether these criteria Native 192kHz, 24-bit: have been met. The correct interpretation of this spectral In differentiating between native resolution and a faked but declared native recording, it is much more important that there be no recognizable signs of intermittent compression of the transfer band width. Such compression can be recognized very easily in most cases by a sharp break-off point in the frequency spectrum at one of the characteristic key frequencies - 22.05 kHz, 24 kHz or even 44.1kHz or 48kHz, as can be seen here:

Fake 192kHz, 24-bit (up-sampled from SACD):

If such a break-off point with a considerable frequency drop-off is present, then it is not native high resolution material. On the other side of the break-off point, additional information can be determined regarding signal processing.


“We encourage music lovers everywhere - to become audiophiles.�


north star design


P lu s

The Essensio Plus 192kHz-32bit USB dac will be

the heart of your digital system. Five S/PDIF digital inputs on coaxial and TOSLINK connectors and an high speed (480Mbit/s) asynchronous USB input that accept digital stream until 192kHz-32bit is all you need to connect any existing digital media in your hi-fi system.

But Essensio Plus is more; a multifunction control knob allows input selection and fine volume setting for line analog and headphone output. The headphone is driven b y a d e d i c a t e d h i g h c u r r e n t a m p l i f i e r. A c o m p l e t e s e t u p menu configure your unit for a perfect matching with any amplification system.

Fe a t u r e s

North Star Design

- digital inputs: 2 S/PDIF on COAX, 3 S/PDIF on TOSLINK, 1 USB - input frequency upper limit: 192kHz on COAX and USB, 96kHz on TOSLINK - USB2.0 Hi-Speed (480Mbit/s) Asynchronous Digital input 192kHz-32bit - on-board high precision master clock - one stereo analog output on RCA - headphone output on 1/4” Jack - high current headphone amplifier - level contr ol line output: 3 coarse settings on analog domain, fine settings on digital domain via rotary encoder - analog output level setting: G1 1Vrms@0dB G2 2Vrms@0dB G3 4Vrms@0dB - output level digital setting with 0,5dB step - led indicator for input channel and input frequency - remote control: volume, input, mute, stand-by - drivers for Windows (XP/Vista/Win7) and MAC OS - dimensions 30 cm(W) x 17 cm(D) x 7 cm (H) - weight 3,2kg

w w w. n o r t h s t a r. i t - i n f o @ n o r t h s t a r. i t V i a L e n i n 1 3 2 - 5 6 0 1 7 S a n G i u l i a n o Te r m e ( P I ) - I t a l y


“We encourage music lovers everywhere - to become audiophiles.”

>>Listening Tip! >Classical EL CORTESANO - Si me llaman Diego Pisador, Salamanca 1552

Songs for vihuela and voice by Spanish Renaissance composer Diego Pisador, in a world premiere recording by the duo ‘El Cortesano’: Ariel Abramovich (vihuela) and José Hernández-Pastor (countertenor). This is the first complete recording of Pisador‘s songs from his „Libro de musica de vihuela“ which he published in Salamanca / Spain in 1552.

great masters of polyphony, like Josquin, Gombert and Morales, to Spanish and Italian secular vocal pieces - all intabulated by Pisador - and some fantasias of his own making. This disc contains the bulk of the Spanish songs romances and villancicos - as well as four Italian villanesche by Adrian Willaert. Unfortunately the composers of the various pieces are not given in the booklet - only the four compositions by Willaert are easily recognizable. The program delivers an interesting survey of the kind of songs which were popular in Spain in Pisador's time. There is quite some variation in the texts and the music. As one may expect, a number of them deal with love, including laments about the absence of the beloved (Partense partiendo yo) and the longing for love (Si te quitasse los hierros). Some are about (female) beauty, as the villancico which gave this disc its title, Si me llaman: "They call to the prettiest, I ensure they call me".

"...There can't be a more moving song in the whole repertoire than "si la noche haze oscura" and Pastor wrings every ounce of feeling from it..." English Lute society journal

some nicely played solos. He uses three different vihuelas in various tunings. This is a disc to treasure: beautiful music sung by an excellent singer with a beautiful voice, and played by a fine artist on beautiful instruments. What more one could ask for? (Johan van Veen, musica Dei donum)

Two specific genres should be mentioned. First, the three romances are related to the role of the Moors in Spanish history. Passeavase el rey moro, for instance, is about Alhama, taken by the Christian troops, ten years before the There are not many amateur fall of Granada. The second genre is the composers who have made a name for endechas de Canarias: "Originally themselves and whose works are still funeral songs, later they became laments performed. Diego Pisador is one of for ill-fated love", the program notes say. them, and although his music isn't that An example is ¿Para qués dama tanto often performed and isn't held in great quereros?: "What's the use of loving you José Hernández Pastor, alto and esteem by some, the fact that a whole so much, my lady? If I am to lose myself Ariel Abramovich, vihuelas disc is devoted to his only only collection of music is an indication that he is not to and to lose you, best would be not to see you again". The character of the texts is be neglected. also vary different. Quién tuviesse tal poder is quite sophisticated, whereas En Pisador was living in Salamanca la fuente del rosel is playful and and made a living as a tax collector. In his spare time he played the vihuela and lighthearted. was dreaming about publishing a book The first time I heard the Spanish with tabulators for the vihuela. With this alto José Hernández-Pastor was in the book he aimed at helping out people Early Music Festival Utrecht of 2008, who wanted to learn how to play the vihuela. It took him 15 years to compile which was entirely devoted to Spanish music. I was struck by the beauty of his the book and then two years to print it. voice and his artistic versatility. Listening That was something he had to do to this disc was another fine experience, himself, as the printing industry wasn't because of the subtlety of Hernándezthat well developed. It cost him a Pastor's interpretation, his excellent fortune, and probably to cover the costs delivery of the text, his differentiated he sued his father and brother over the ornamentation and brilliant control of inheritance his mother had left. dynamics. With Ariel Abramovich he has a completely congenial partner. He The book contains 95 compositions, >> More about this album gives excellent support and contributes ranging from masses by some of the


“We encourage music lovers everywhere - to become audiophiles.”


“We encourage music lovers everywhere - to become audiophiles.�

be appointed to undertake this difficult task? He lived and played with the famous guitarist for so many years. However this album doesn't constitute a Zoot Sims with Henri Renaud (and remake, because Joseph Reinhardt has his own personality. The well-known his Orchestra) themes he plays here have something Genre: Jazz / Released: 10.10.2011 different. This recording has been shot by Andre Charlin. >> More about this album

>>New Releases >Recommend!

Jozef Dumoulin Trio: Rainbow Body Genre: Jazz / Released: 25.10.2011

With this mythic french recording, Barcarolle starts releasing jazz reissues. In 1956, Zoot Sims in on tour in France and Italy with the "Gerry Mulligan Sextet". During his time in Paris, Simes recorded two legendary sessions: "Night Session in Paris" and the one presented here. We will be all charmed by the freshness and emotion conveyed on this record, because the tender soft and swing characteristics to Zoot Sims, is completed by the french elegance of Henri Renaud. >> More about this album

Joseph Reinhardt plays Django Genre: Jazz / Released: 10.10.2011

Between his native Belgium, France, where he works and Germany where he studied, Jozef Dumoulin belongs to those young European artists who are used to go from one side of the border to another. His ability to mix difference genres of music is not voluntary, it's perfectly natural. He was student of John Taylor, and came to jazz by the back door of rock and pop from the 60's and 70's. He collaborated with some artists as Octurn, Magic Malik, Franck Vaillant Benzine, Bhedam or Christophe Wallemme. After the release of his first album, Trees are always right of his ban Lidlboi in 2009, Jozef Dumoulin begins for the first time the adventure in a trio with the electric bass player Trvor Dunn (Mr Bungle, Fantomas, John Zorn, Andrew D'Angelo) and Eric Thielemans (Lidlboj, EARR, A Snare is a Bell, Maak's Spirit) on drums. With Rainbow Body, Jozef Dumoulin continues his quest for the "juste milieu" close to electronic music, experimental music and jazz. >> More about this album

Inevitable bridge between tradition and the current gipsy jazz, Django's tribute by Joseph Reinhardt in 1958, is the only Perrine Mansuy – Vertigo Songs jazz recording from the historical catalog Genre: Jazz / Released: 05.10.2011 of The Discophiles Français. Who except the own brother of Django could


Perrine Mansuy recorded the Vertigo Songs in 2009 with Marion Rampal's voice who wrote lyrics, the guitarist Rémy Decrouy and the percussionist Jean-Luc Di Fraya. The Vertigo Songs’ universe, appealed by Alfred Hitchcock's music movies, is a kind of initiatory trip to new, fresh, sensitive and unlimited feelings music. The pianist Perrine Mansuy (born in 1971) fits into the evident style of (Miles Davis, Keith Jarrett) and claims more and more her independence and her authentic musical plan, which gives a place to dream, to wander around, and to laugh because the humor and the fantasy are represented. >> More about this album

SuperBravo : A Space Without Corner Genre: Pop / Released: 22.11.2011

We cannot identify all musical adventures of Armelle Pioline. We know about her when she was the singer of Holden, from Lithium years to the alchemy proved by “Chevrotine” and “Fantomatisme”. After some free collaboration, here she is under the mask of SuperBravo, a minimalist project, in which the history of pop is redeploying in our ears. >> More about this album

“We encourage music lovers everywhere - to become audiophiles.”

>>Digital High-End New asynchronous USB DACs Phonosophie USB-DAC 1 Phonosophie‘s first D/A converter DAC 1. Ingo Hansen, CEO had firstly introduced the DAC at the HIGH END 2011 in Munich. The DAC 1 will be available in December. One of the unique features are the external and isolated USB module. The disturbing influences of the data section to the analog stages is intended to prevent any possible interference. Serves the same purpose, the optical data transmission, and the separate power transformers for analog and digital sections. The DAC 1 can handle resolutions up to 192kHz, 24bit in USB asynchronous mode. SPDIF sources can be connected via RCA, BNC, XLR or TosLink, the electrical inputs are transformer coupled. The analog signal is output on RCA, XLR, and a DIN socket. As a special treat can be available shortly over clock the top of Phonosophie CD player via a special connector 1 from the DAC. An external AC adapter is optional. The electronics of the DAC 1 where developed by Karl-Heinz Fink and his crew but the audiophile touches came from the mastermind himself, Ingo Hansen. Vibration-damped mounted PCB, toroidal transformer, aluminum chassis, four-millimeter thick disks, etc. The price: 3900€

Lindemann USB-DAC 24/192 Digital to analog converter with a resolution of 24 bit and 192 kHz. Intelligent combination of up-sampling and digital filtering with minimum phase filter and “anodizing” characteristic. The USB interface of the USB-DAC 24/192 is based on an XMOS-DSP with enormous computing power (500 Mips), which can transmit music files of up to 24 bits and 192 kHz in asynchronous mode. As far as sound is concerned, this solution outshines all the other current digital music reproduction models. Features: • Bit-transparent reproduction with a resolution of up to 24 bit and 192 kHz. • Asynchronous Mode (USB Audio Class 2), based on XMOS-DSP with 500 Mips. • “Minimum phase” digital filtering with “apodizing” characteristic. • No driver needed for Mac OS 10.6.4 or higher. • Lindemann certified driver for all Windows 32bit/64bit systems (XP, Vista, 7). The price: 690€

>>Imprint Responsible. HIGHRESAUDIO® Lothar Kerestedjian Gradestrasse 60 D-12347 Berlin E-Mail: You've received this newsletter as registered HIGHRESAUDIO customer. If you'd prefer not to receive E-Mails from HIGHRESAUDIO, you can unsubscribe by sending us an E-Mail at We never give your information to third parties and use it only to improve our service to you, in accordance with our privacy policy. Copyright © 2011 HIGHRESAUDIO. All rights reserved. HIGHRESAUDIO® is a registered trademark. All logos, text and graphics are copyrighted.

Visit our online store:



“We encourage music lovers everywhere - to become audiophiles.”


HIGHRESAUDIO Newsletter 01 2011  

Our monthly Newsletter for quality-conscious music listeners, music lovers, Hi-Fi enthusiasts or the connoisseur of good sound.

Read more
Read more
Similar to
Popular now
Just for you