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Analyzed: Bartok / Concerto For Orchestra-Reiner
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DR Peak RMS Duration Track
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DR14 -1.65 dB -21.23 dB 10:02 01-Concerto For Orchestra-Sz 116-1-Introduzione-Andante Non Troppo-Allegro Vivace
DR14 -3.64 dB -23.65 dB 6:04 02-Concerto For Orchestra-Sz 116-2-Giuoco Delle Coppie: Allegretto Scherzando
DR14 -0.43 dB -20.64 dB 7:59 03-Concerto For Orchestra-Sz 116-3-Elegia-Andante Non Troppo
DR13 -1.94 dB -21.93 dB 4:15 04-Concerto For Orchestra-Sz 116-4-Intermezzo Interrotto-Allegretto
DR13 -1.80 dB -19.59 dB 9:05 05-Concerto For Orchestra-Sz 116-5-Finale-Pesante-Presto
DR12 -3.99 dB -24.06 dB 7:05 06-Music For Strings-Percussion-Celesta Sz 106-1-Andante Tranquillo
DR12 -3.33 dB -19.54 dB 7:03 07-Music For Strings-Percussion-Celesta Sz 106-2-Allegro
DR15 -3.41 dB -25.98 dB 6:58 08-Music For Strings-Percussion-Celesta Sz 106-3-Adagio
DR12 -2.29 dB -20.04 dB 6:51 09-Music For Strings-Percussion-Celesta Sz 106-4-Allegro Molto
DR12 -10.62 dB -29.48 dB 2:44 10-Hungarian Sketches-Sz 97-An Evening In The Village
DR11 -4.46 dB -19.75 dB 1:42 11-Hungarian Sketches-Sz 97- Bear Dance
DR11 -6.70 dB -25.24 dB 2:05 12-Hungarian Sketches-Sz 97-Melody
DR12 -5.66 dB -24.23 dB 2:17 13-Hungarian Sketches-Sz 97-Slightly Tipsy
DR11 -3.79 dB -20.95 dB 1:57 14-Hungarian Sketches-Sz 97-Swineherd's Dance
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Number of tracks: 14
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 645 kbps
Codec: FLAC
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Since the earliest days of recording,
engineers have strived to make
recorded sound as immediate and
thrilling as natural sound. The
earliest electrical recordings were
made with a single microphone positioned
in the hall for optimum balance.
The signal was fed to a cutting lathe,
and with the advent of magnetic
recording, to a monaural tape recorder;
a copy of that tape was used to produce
the LPs which consumers listened to at
home.
With stereo, two microphones were
placed in the hall. Signais were fed to
a stereo tape recorder and consumers,
listening back on two speakers, heard
a new "depth" of sound. By placing
microphones in the left, center, and
right of the hall, engineers progressed
to 3-channel recordings, which afforded
them greater control over the musical
balances that ended up in the stereo
mix. Even as CDs replaced LPs, this same
process was often followed.
Today, with the advent of SACD and
multi-channel playback, the listener can
hear the left, center, and right channels
exactly as the engineers heard them at
the original recording sessions. In this
sériés of Living Stereo reissues on
hybrid SACDs, we have used the 3-
channel original tapes whenever they
existed; when the material was recorded
only in stereo, we used that tape. Some
of the SACDs will therefore contain 2-
channel, or a combination of 2- and 3-
channel material. We used only two or
three of the available six channels on
the SACD dise because that was the
vision of the original producers.
In remastering these tapes, we kept
the signal path as short as possible. A
Studer-Aria analog tape recorder was

connected with premium Siltech cabling
directly to specifically chosen dCS converters.
This DSD data is directly encoded
on the SACD. Thus the listener is able
to hear the output of these converters
exactly as we heard it in the studio.
The DSD program is essentially identical
to the analog tape. What you hear are
faithful copies of each historié recording -
the pure performance, presented in its
original splendor. No signal processing
was necessary to "improve" these
extraordinary tapes.
Throughout this very exciting project,
history came alive as we heard the
voices of legendary engineers verbally
slating the tapes with the location and
date of each session. We were greatly
impressed not only with how little the
original tapes were edited, but how
skillfully engineers edited with their
high-tech tool of the day, namely, a
15
razor bladel Applying the best in 21 stcentury
remastering technology, we
believe we have done justice to the
best in 20th<entury recording technology
for a new génération of listeners