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TELARC DIGITAL | AUDIOPHILE CD
The Telarc Sound: EVERYTHING YOU HEAR IS TRUE®
Telarc achieved its reputation for the exceptionally clear, natural sound of its recordings. Even before the public had heard of the digital process, they were embracing the sound of Telarc. Critics have praised it, and Telarc 's artists rely on it, knowing that Telarc's recorded sound gives them the most faithful possible representation of their artistry. "From their very first recordings," said renowned conductor Robert Shaw of his twenty-year recording history with Telarc, "Robert Woods and Jack Renner have brought intelligence, care and creativity to their work, which immediately challenged the standards of the entire recording industry. All audiophiles and lovers of music are in their debt."
"Telarc prides itself on the naturalness and transparency of its recorded sound," says Vice President of Production and Artist Relations, Elaine Martone. "Coming from a musician's background, I have always valued this aspect of our craft," she continues. "In our classical, jazz and blues recordings there is a tactile presence to the instruments and voices, drawing in the listener from the opening notes."
Since 1980, Telarc has been honored with forty Grammy Awards for performance, production, and engineering, as well as Label of the Year from Gramophone, the French Grand Prix du Disque and Diapason d' Or; Japan's Record of the Year; and Germany's Audiophile CD of the Year.
Telarc was founded in 1977 by two classically trained musicians and former teachers, Jack Renner and Robert Woods, filling a niche in the growing audiophile record market. Renner had launched the roots of the company in 1962, when he established a custom recording business that produced high-quality, realistic sounding recordings, made in a variety of challenging acoustical venues. The Mercury Living Presence recordings made by C. Robert Fine in the '50s and '60s served as his sonic role models. Renner experimented and further honed his own "minimal miking" approach, which is still the primary model for the company's engineering practices today.
The Microphone Array:
When Renner talks about "minimal" miking, it means using the fewest number of microphones that are absolutely essential to get the job done. This means using only two, three, or four main microphones for recording a full symphony orchestra. Only in extreme circumstances will he employ "highlighting" mics. "It really depends on the acoustic of the hall, the size of the group being recorded, and on the repertoire—whether the texture of the score is extremely complex, and only if we can't achieve a critical detail from a certain section of the orchestra without additional mics. That is what I call a distinctive Telarc Sound. That sound is a result of using omni-directional microphones for the main pick-up, and the way they are placed so that the acoustic of the venue and the performing group are successfully integrated into a single, successfully-balanced sonic picture. In addition, the quality of the entire recording chain adds its own personality to the finished product."
Telarc's Proprietary A to D Converter:
Long before it was an industry standard, Telarc jumped into the future by committing to true 20-bit recording, and invested in the development of its own proprietary 20-bit analog to digital converter (ADC). "This has been one of the most variable areas in all of digital recording," says Renner, "along with the digital to analog converter (DAC). If you don't get the signal properly converted from analog to digital to begin with, then the best DAC in the world isn't going to make it sound better."
Since 1988, Telarc has been recording in the 20-bit format. "We found that 20-bit made a substantial difference to the end result," says Renner. "Our 20-bit recordings enabled more detail to be captured, and provided us better control of dynamic range, with a far lower noise floor and increased resolution. It's been a flexible and successful medium."
"Telarc began making recordings in various 24-bit formats starting in 1996, sampling the signal at higher rates than much of the rest of the industry," says Bishop. "This has allowed us to make recordings that can exceed the dynamics found in the performance venue."
An extensive network of designers, builders, and manufacturers use Telarc to test prototypes of cutting-edge audio equipment at Telarc's recording sessions, giving the company the unique experience of working with future products and technology, as well as having a hand in their development.
Born: Mar 21, 1935 in New York
The most successful classical/crossover recording artist in chart history, Erich Kunzel rose to fame during his lengthy reign as the conductor of the Cincinnati Pops Orchestra. Educated at Dartmouth, Harvard, and Brown Universities, he studied under French conductor Pierre Montreux, later serving as his personal assistant; in 1965, Kunzel was invited by music director Max Rudolph to join the Cincinnati Symphony Orchestra, soon taking over their Eight O'Clock Pops series. His affinity for the pops repertoire was immediate, and in 1970 Arthur Fiedler invited him to conduct the Boston Pops; in the years to follow, he returned to Boston annually to assume guest conductor duties, and by the time the Cincinnati Pops Orchestra was officially established in 1977, Kunzel was the obvious choice for conductor.
Becoming a fixture of pops performances, Kunzel subsequently served as regular guest conductor with orchestras all over the country, appearing annually with the Chicago Symphony at the Ravinia Festival, the Los Angeles Philharmonic at the Hollywood Bowl, the Cleveland Orchestra at the Blossom Festival, the Philadelphia Orchestra at the Mann Music Center, the Toronto Symphony, the Minnesota and Detroit Symphonies, and the National Symphony both at the Kennedy Center and on the lawn of the Capitol, returning each year for the nationally televised Memorial Day and Independence Day concerts. Many of Kunzel's recordings with the Cincinnati Pops – among them The Sound of Music, Victory at Sea and Chiller – topped ~Billboard's chart of best-selling classical crossover records; in total, over three dozen of his works made chart appearances, a number unpredecedented for pops recordings.
Label: Telarc (DDD)
Orig Year: 1988
Street Date: May 22, 1989
Guests: Singing Hoosiers Choir; May Festival Chorus; Tracy Dahl; Douglas Webster
Produce: Robert Woods
Engineer: Jack Renner
Recording Time: 68 minutes
1. When You Wish Upon A Star (2:37)
2. It's A Small World (3:25)
3. Alice In Wonderland Medley: Alice In Wonderland / All In The Golden Afternoon / I'm Late (4:43)
4. March Of The Cards (1:59)
5. Mary Poppins Medley: Chim Chim Cher-ee / Jolly Holiday / Spoonful Of Sugar, A / Let's Go Fly A Kite (8:37)
6. Cinderella Medley: Cinderella / Dream Is A Wish Your Heart Makes, A / Work Song, The / Bibbidi-Bobbi (8:21)
7. The Jungle Book Medley: I Wan'na Be Like You / Trust In Me / Colonel Hathi's March / That's What Fri (7:02)
8. Who's Afraid Of The Big Bad Wolf? (1:38)
9. Snow White And The Seven Dwarfs Medley: Overture / Heigh-Ho / Whistle While You Work / With A Smile (12:15)
10. Mickey Mouse March (1:15)
11. Baroque Hoedown (2:26)
12. Disney Fantasy Medley: Zip-A-Dee-Doo-Dah / You Can Fly, You Can Fly, You Can Fly / Title Theme From (13:42)
Peggy Lee (Lyricist), John Williams (Director), Erich Kunzel (Conductor), Erich Kunzel (Main Performer), Jimmie Dodd (Lyricist), Terry Gilkyson (Lyricist), Carmen Dragon (Arranger), Michael Bishop (Technical Assistance), Sonny Burke (Lyricist), Sammy Cahn (Lyricist), Jim Christensen (Arranger), Frank Comstock (Arranger), Jackson Eskew (Arranger), Sammy Fain (Lyricist), Bob Hilliard (Lyricist), Rosalind Ilett (Editing), Jack Lawrence (Lyricist), Jerry Livingston (Lyricist), Elaine Martone (Editing), Jack Renner (Engineer), Richard M. Sherman (Lyricist), Robert B. Sherman (Lyricist), Sally Stevens (Liner Notes), Ned Washington (Lyricist), Robert Woods (Producer), John Renner (Engineer), John Renner (Technical Assistance), Ray Gilbert (Lyricist), Bruce Healey (Arranger), Rosalind Llett (Editing), Jay Blackton (Arranger), Thomas Knab (Editing), Thomas Knab (Technical Assistance), Ray Kirschensteiner (Art Direction), Frank Churchill (Lyricist), Ken Whitcomb (Arranger), Ann Ronell (Lyricist), Ann Ronell, School for Creative & Performing Arts Children's Chorus, Robert E. Stoll (Director), Douglas Webster (Baritone), Douglas Webster (Baritone (Vocal)), Deborah N. Berry (Director), Indiana University School of Music Singing Hoosiers, Al Hoffman (Lyricist), Larry Morey (Lyricist), Mack David (Lyricist), Tracy Dahl (Soprano (Vocal)), Rick Brown (Artwork), Rick Brown (Illustrations)
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A Disney Spectacular part 1 (99.1 MB)
A Disney Spectacular part 2 (99.1 MB)
A Disney Spectacular part 3 (99.1 MB)
A Disney Spectacular part 4 (99.1 MB)
A Disney Spectacular part 5 (11.9 MB)
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