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专辑简介:
★这是来自Naim官网的24bit 192kHz音乐!
★这是迄今为止Naim公司发行的最畅销的专辑!

Antonio Forcione & Sabina Sciubba – Meet Me In London
专辑风格: Jazz,Vocal
发行时间: 1997
厂牌: Naim
资源格式: FLAC 2.0 24bit 192kHz

音乐家:
Antonio Forcione - guitars
Sabina Sciubba - vocals
David Mantovani - fretless bass, synth horn
Bosco de Oliveira - percussion
Adam Glasser - harmonica
Malcolm Creese - double bass

专辑介绍:

英国吉他圣手Antonio Forcione安东尼·佛西欧尼,以往他曾替NAIM灌录过好几张CD,安东尼一向被拥护为“空心吉他界的Jimi Hendrix”,他热力四射的现场演奏更使他成为全世界乐迷公认当前英国最具天分及魅力的音乐家之一。Sabina Sciubba是在罗马出生的民谣歌手,在慕尼黑和法国的尼斯长大。

听不听爵士的人都知道这张专辑,可见其名声之大,功底之深,音质之美。英国大厂NAIM之名如雷贯耳。因此这张专辑的LP碟更为发烧友所珍藏。乐评者从不吝惜对这张专辑的溢美之词。相信你听后也是一样。

Jazz FM的乐评家David Freeman形容此张由Antonio Forcione 及Sabina Sciubba合力演出的专辑《Meet Me in London》为:“一张充满灵感、令人愉悦并经完美录制的CD”。Antonio及Sabina以标准爵士、重新编曲的流行古典乐以及一些迷人的新曲目酿制出此张神奇与巧夺天工的专辑。

CD上的寥寥数语介绍更是慷慨激昂:“招牌作品。完美融合的FUNK风格、旋律爵士和ROCK'N'ROLL,千变万化。高手就是高手,老练就是老练。最疯狂的部分也是最冷静的部分。水准不枉NAIM一世英名。”

这张英国音响老厂Naim推出的试音大碟,由专业厂牌vinyl发行。将一些古典爵士重新编曲,配合三首新单曲一并发出。节奏,声音,配合轻轻浅浅的气息和吉他,尤其是Sabina低深沉的声音和吉他重迭的共鸣感,那一种无法形容的美妙。有些音轨加入了打击乐或贝斯手,但主要作为衬托而存在。毫无疑问,两位巨星的这张专辑值得一遍又一遍倾听。这张专辑也是迄今为止Naim公司发行的最畅销的专辑。

Naim Label guitar virtuoso Antonio Forcione was touring Europe, when he chanced upon the stunning tone and control of twenty-something Sabina Sciubba at an after-show celebration in Hamburg. Upon his return to the UK, he made a beeline for Naim Audio with a spur-of-the-moment idea to take this amazing young lady into the studio. Antonio and Sabina exchanged demo tapes and song ideas until in the autumn of 1997, the two met at September Sound Studio in Twickenham to record an album of popular reinterpretations and originals. The resultant LP, Meet Me In London, became Naim's most successful album to-date and is to this day cherished by audiophiles and music lovers the world over.

As our most treasured album, MMIL was the perfect subject for launching Naim's first Super Hi Def 24bit 192kHz download. Far from being a simple remaster, this multi-track conversion, remix and remaster at 192kHz took months of hard work to preserve the sonic and emotive qualities of this fascinating album at some of the UK's finest studios.

Naim invited the legendary British record producer and engineer Tony Platt, whose musical CV includes The Rolling Stones, Led Zeppelin, Bob Marley, AC/DC, Gary Moore and Buddy Guy to undertake the challenging project.

"I was absolutely delighted to be asked to oversee this remixing project for several reasons. Most notably because I have been a fan of Antonio's playing for some time but also because the chance to open the subtle nuances of such wonderful music with a high resolution remix doesn't come along every day!

Normally, in my role of producer and engineer, I am trying to record and mix music to sound good through the worst possible playback situation so I had to re-adjust my perspective slightly without letting myself becoming so carried away with the process that I lost sight of the album as a musical work. This was occasionally difficult because the world of 192 KHz is relatively uncharted and the technical challenges kept us very much on our toes.

However, I think we have stayed true to the original whilst releasing aspects of the performances that were hitherto not so clear and accessible. I find this version to be extremely listenable because the space and perspective this format allows enables the listener to really enter the room with the musicians."

Tony Platt, Platinum Tones


The Technical Process

The original album was recorded on 24-track Ampex tape in analogue and without any Dolby noise reduction at September Sound in Twickenham, by Peter Williams. The playback of the analogue masters and capturing as 24bit digital WAV files was being undertaken at the famous Strongroom Studios in London. Fortunately, the master tapes were found to be in good condition and did not require any oven baking to consolidate the oxide layer - a problem that can plague old masters.
The process of capturing the digital WAV files in 24bit resolution at 192kHz in Pro-Tools began by playing the original masters on a Studer A800 MKII analogue tape machine. The A800 is universally regarded as one of the most faithful and accurate 2-inch reel-to-reel tape machines ever built.

The playback feed from the Studer was carefully aligned to the original tapes using the test tones recorded at the time, was routed into a Digidesign analogue to digital converter and monitored via Digidesign D-Control ES mixing console. This state-of-the-art console is fully integrated with Pro-Tools HD, enabling control of the recording to be undertaken either via the console or from within Pro-Tools itself. The captured 24bit/192kHz WAV sound files were saved to hard disk.

The next step of the process was to convert the digital files back into analogue to enable them to be mixed on a Neve analogue mixing console. Why not just use the original analogue master on the Neve and avoid all the A-D and D-A conversion? Given their 14-year age it was considered that the tapes wouldn't have survived the repeated playback required during mixing. Making a duplicate analogue master and mixing from that would have introduced additional tape noise, which would have been obvious on 24-bit/192kHz playback. Alternatively mixing on the Digidesign console entirely in the digital domain would have meant using certain plug-ins that only operate at 16- or 24bit/44.1 or 48 kHz and would have necessitated down-conversion of the digital signal. None of these other options were considered desirable from a sound quality point of view.

The Neve was chosen for mixing because of its superb sound quality. The Apogee Symphony was used post mix to convert back to digital as it interfaces directly with Pro-Tools HD and sounds fabulous and Tony did not want to feed the audio back through the same converter twice.

Mastering again presented questions in whether to convert to analogue to apply final EQ and limiting or to stay within digital but with a smaller choice of tools. Listening tests determined that staying in digital was the obvious choice - a decision made easier by the availability of the excellent Sonnox plug-ins that are capable of supporting 24bit/192kHz. The plug-ins were used to add slight touches of EQ and gentle limiting to maximise the overall musical presentation.

As Antonio Forcione says "Remixing Meet Me in London was a very rewarding experience. Listening back to it now is like observing a starry night through a very powerful telescopic lens - suddenly you see things you didn't realise were there in the first place ... Amazing!!"

Produced by Tony Platt & Antonio Forcione

曲目列表:
1. Visions 5:47
2. Take Five 3:28
3. Caruso 5:18
4. Why Can’t We Live Together 5:43
5. Night Train 4:47
6. Could You Believe 4:42
7. When We Two Parted 5:37
8. Brasilico 6:32
9. Estate 5:13


试听:


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aiyuekuangren 2016-11-3 01:01:35
下了听听,谢谢分享。
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tj61981311 2016-11-3 17:55:03
一张充满灵感、令人愉悦并经完美录制的CD,应该听听。
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