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Posted: Wed Sep 05, 2012 5:34 pm
I have recently started buying some high resolution albums from HDtracks
Most albums and tracks are in Audiophile 96kHz/24bit FLAC (DVD-Audio quality) and Audiophile 192kHz/24bit FLAC (Blu-ray quality).
The downloads also come with high quality PDF booklets and cover art, unless otherwise noted.
I usually just rip the images from the PDF booklets to get full high quality artwork for tagging my tracks.
I also noticed that they recommend MediaMonkey
as a player.
MediaMonkey is also mentioned a number of times throughout the FAQ
as a player to use.
Has anyone else tried HDtracks? I quite like it.
Posted: Fri Sep 28, 2012 1:36 am
Posted: Wed Oct 10, 2012 5:56 am
Unfortuneately I can't get access to it as I am in the UK. I tried various albums to download which returned a statement along the lines of not established a contract with this part of the world for providing this service...!! I tried to download Lee Retinour on 24 bit /96 kHZ and no joy!!... shame because the preview sounded stunning !
Posted: Thu Nov 01, 2012 2:35 am
cliveknight wrote:Unfortuneately I can't get access to it as I am in the UK. I tried various albums to download which returned a statement along the lines of not established a contract with this part of the world for providing this service...!! I tried to download Lee Retinour on 24 bit /96 kHZ and no joy!!... shame because the preview sounded stunning !
I'm in Australia and I can access it.
Just change the country in your account settings to United States.
For some reason my account settings were already set to United States.
Posted: Tue May 07, 2013 12:01 pm
here is a new Amsterdam based company Sound Liaison.http://www.soundliaison.com/
Check out Soundstage! Rad Bennet's review:
American Blues from the Netherlands
Sound Liaison Studio Showcase Series No. 1
Format: 24-bit/96kHz waw (download)
I've been among the prophets saying that high-resolution downloads are the future of audiophile music sales. Surely it will benefit the majors to make high-quality downloads a first choice rather than an MP3 extra, but I believe that individual artists can benefit as well. Most new-to-the-scene performers have little money for middlemen and disc manufacture, yet can get things together for the Internet.
Frans de Rond and Peter Bjørnild have taken this approach with Sound Liaison, producing recordings available only in 24-bit/96kHz downloads that mirror the master recording. And man, are they ever sweet. I've seldom heard recordings that were so successful in both performance and sound aspects.
De Rond hails from the Netherlands, where he studied double bass at The Royal Conservatory in The Hague while concurrently studying recording techniques. Bjørnild also studied double bass, moving to the Netherlands to continue studies at The Hague. Since graduating, he has played almost every type of music, from classical to jazz. Together de Rond and Bjørnild bring two pairs of golden ears to their label. Bjørnild claims that, "a recording should be as realistic and beautiful sounding as possible. As if, when closing your eyes, you find yourself in the best seat in the hall."
The partners discovered a fine recording hall (Studio-Eleven, Hilversum) and set out to record amazing musicians in this great acoustic place in front of live audiences. It's a daring feat; one take and no place to hide, but the abilities of the musicians involved make it seem easy. I chose to talk about the first album by Carmen Gomes Inc. It was a tough choice because all of the three current albums were worthy of review.
Carmen Gomes has won many awards in the Netherlands and surrounding areas. Like so many new European singers, she sings in English -- excellent English, I might add. She's formed a group called Carmen Gomes Inc., with Folker Tettero on guitar, Peter Bjørnild on double bass, and Marcel van Engelen on drums. Her style is bluesy and intimate with a sexy voice that's sweet as dark tupelo honey, and her interpretations are unerring. The musicians play to her and to each other, and the ensemble is so tight that the four musicians breathe and move as one.
There are some standards on the set that knocked me over with their fresh approach. Any singer can misplace a few accents and rhythms and come up with something that's original, but perhaps also uneasy and a little strange. Not Gomes, who has taken the songs to their bones and then restructured them to suit her style. Thus "Fever" doesn't sound like a cover of Peggy Lee; it sounds like a brand new take on a familiar song. You emerge from hearing it not thinking it's better or lesser than Lee's version, but that it's a valid new interpretation that could have come first.
The same approach works on "Angel Eyes," "You Don't Know What Love Is," and "I'm on Fire." Most of the rest, including the title song, "Oblivion," "Time Will Tell," "Gasoa Blue," and "The Sea," are Gomes originals that fit right in with the standards. The recording achieves exactly what Bjørnild set out as his goal. It can provide the best seat in your listening room. Go to the Sound Liaison site, listen to a few samples, download an album, and see if you don't agree that this intimate effort is one of the best and best-sounding jazz vocal albums to come along in many a day. By the way, the small audience applauds enthusiastically enough after the last chords of a song die away, but the attendees never interrupt or make themselves known while a song is going on. No doubt they were completely mesmerized into silence, as was I.
Be sure to listen to: On "Dock of the Bay," Gomes creates a languid, bluesy version that is a little bit reminiscent of Bobbie Gentry while still coming across as quite original. It'll cast a spell over you.
. . . Rad Bennett
Posted: Mon Jun 24, 2013 6:22 am
I've been using HD-Tracks for a year or two now, apart from 7-digital.com (which has less than a dozen FLAC albums on sale) it is where I get all my HD downloads from.