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Store of compact discs "AML+music"
You have come to an unusual online store of compact discs. It does not have a huge nomenclature of records that is often presented in big shops. However, is an extensive nomenclature of records an advantage? Does it make sense, for example, to offer a мeloman a hundred performances of the same composition? After all, 70 years ago, when 3-4 performances of one composition were issued, gramophone records very extremely popular and nobody complained of the limited nomenclature, and all because only exceptionally the greatest of performing musicians were recorded then. Now, when the nomenclature of records is vast, stores offer us basically mediocre musical performances, and moreover, on records which do not convey the living tissue of music and, more precisely, deliver to us only its corpses. These corpses, as it is known, are stamped in large quantities by known manufacturers. It turns out that in big online stores the variety of records interesting for you is simply unavailable! In our shop, you will find only 100 names of compact discs, however all of them represent the best pieces of music, in the best performance for the past 100 years. Also, the presented records are live, because they are manufactured with use of special technology of record revival, manually, by the famous audioengineer and popularizer of music, and also ideologist of conveying the life of music by means of audio equipment, Anatoly Likhnitskiy. In the recent years, Likhnitskiy decided not to record modern, basically faceless musicians that do not touch a listener’s heart, and has concentrated all efforts on restoration of records of world-scale performers, recorded in the first half of the 20th century, which, in his opinion, are true carriers of musical performing culture. Thus, the compact and CD-R discs presented in the store are the result of restoration and revival of unique gramophone records on 78 rpm, which were originally carried out in 1902 - 1948, and also records on magnetic tapes and on Lp carried out before 1958. Because these records in the original were carried out over 50 years ago, all of them are monophonic and their sounding is accompanied by noticeable noise and crackling, and it is quite natural that not everyone will be able to appreciate Anatoly Likhnitskiy 's unique work on restoration of these records immediately; after all, their advantages are often concealed by technical defects of original records. In order for everyone to understand what level Anatoly Likhnitsky produces records at, the store invites beginners to get familiar with his stereo recording carried out in 1994 for Samsung (Korea). You can purchase this record in our shop: see section vocalists "Vocalis ", Shin Jong Ok (soloist of the Metropolitan Opera) accompanied by a symphonic orchestra, directed by A.Dmitriev. You can also listen to a fragment from it in mp3. We bring to your notice that this record is recorded on self-made, that is, not branded, recording equipment, and this is because equipment for correct stereophonic recording is still not manufactured industrially. Unfortunately, home audio equipment for correct reproduction of live music isn’t manufactured either. In our forum, you can find out how to purchase it or make it yourself. But to begin with, get yourself familiar with A.Likhnitskiy 's exciting article "Hi End has died – hail to Hi End!”
What makes Anatoly Likhnitskiy's records different from ordinary ones?
1. Records are made through the shortest path possible
Why should the record path be extremely short? After all, it is well-known that high objective parameters of audio equipment can be reached in «a long path». This is what almost all engineers occupied in sound recording think. Nevertheless, it is well-known to a narrow circle of specialists that there are features of sounding of audio equipment which cannot be expressed in objective parameters. It is the colouring of sound brought forward by connecting wires, clearness of sound and so on. These features serve as a certain «creative intermediary of audio equipment components» during transfer of music through it, in much the same way as through an intermediary of musical instruments noticed by musicians; that is, all electric and mechanical elements of equipment (wires, condensers, resistors etc.) interfere on a thin level with the essence the music being recorded, unpredictably alter it, and this happens on each link of a path of a record/reproduction. It is important that with an increase in the number of links of a path - and it doesn’t matter whether they are digital or analogue - changes to the essence of music grow in a geometrical progression. At the level of subjective sensations, these changes are perceived by us firstly as loss of life of music. Therefore, for preservation of life of music the number of links of a path of a record/reproduction, that is, creative intermediaries during music transfer, should be limited to minimum. Thereupon, Anatoly Lihnitskiy has completely with drawn from use of computers, audio consoles, various digital correcting and functional devices and, most importantly, from additional digital rerecordings of soundtracks widely used by studios during creation of records.
2. The record path (except for the recorder) is executed on vintage electrocomponents made before 1945.
Because path components (electroelements, wires, etc.), as it was discovered, are creative intermediaries during transfer of music through them, special requirements and made to them. Such requirements, among others, are giving to sounding: breeding, nobleness, intelligence of sounding. It is impossible to estimate meeting these requirements by objective means, but they can be noticed by the “golden ears” of audioexperts. The most important of these requirements is the ability to transfer music without emotional distortions and spiritual losses. As it has been discovered (see article «Telefunken – life after death» on A.Likhnitskiy’s website), the components meeting these requirements, incredible as it may seem, were made mostly in the third Reich. For this reason, the equipment for remastering of records by Anatoly Likhnitskiy is made exclusively from German electroelements made before 1945.
3. Records are not subjected to any special digital processing, including clearing from clicks and noise
Previously, while listening to phonograph records on simple pre-war radio-gramophones or on record players, noise and clicks did not bother anybody. And it is understandable, after all, record and reproduction paths were short, and therefore kept the live essence of music. Thanks to this essence listeners were so involved in the sounding of gramophone records that nobody even thought of paying attention to any clicks or noise. Later, what happened happened! Tens of times longer paths of record/reproduction (and control), which present sound recording companies use, have substantially killed the musical life in records. And it has, in turn, caused change of reference points of listeners. Instead of music, came forward a strive for comfort during listening of records, that is, the absence of noticeable clicks and noise. Therefore, computer (digital) technologies of clearing of soundtracks during the remastering of old records became widespread. These technologies were materialized by engineers on the most complicated equipment, noticeably extending the way of a musical signal, which has actually caused definitive "murder" of music. Business couldn’t care less about this violation of music. Removal of clicks and noise during remastering of old records became corner stone in the industry of the remastering of sound recordings. And only a few, including Anatoly Likhnitskiy, have with drawn from the above mentioned technologies and the use of corresponding equipment, preferring the shortest way of a musical signal to bring to listeners the live essence of sound recordings of the beginning of the 20th century.
The shortest way of a path of remastering by Anatoly Likhnitskiy:
Self-made electric record player, with a roller drive of a disc 10 kg in weight and controllable rotation frequency from 30 to 100 rpm.
A pickup cartridge with mobile iron and fibre needles (self-made). Valve Preamplifier with transformer inductive correction, on electroelements of Telefunken company of the times of the Second World War (self-made).
Recorder combining the functions of mastering, recording and cloning of master discs ML9600 High Resolution Master Disc Recorder (ALESIS) (modified for the purpose of shortening of a way of a signal).
Quality control of records is carried out by means of a loudspeaker of Klangfilm company, manufactured in 1935, and the self-made SE power amplifier on triode AD 1 of Telefunken company 1934.
New dawn in duplication of records
We do not limit ourselves to sale of records of Anatoly Likhnitskiy, produced at a factory in the form of usual compact discs, and we offer a new type of product - MASTER DISCS. Until now, collectors of compact discs did not even imagine how much a music record loses during the process of duplicating (replicating) of compact discs at a factory. Until now, only workers of studios knew about this damage, those who were informed, with control of strict confidentiality, that the sounding of the stamped compact discs made at factory considerably concedes to the sounding of master discs, that is, the originals of records. We have decided to remove the privacy veil from this question, giving audiophiles and melomans an opportunity to purchase in our store not only compact discs, but also master discs, from which, as a matter of fact, release compact discs are made, and to compare their sounding on home audio equipment. Two versions master–discs are offered in our shop.
Gold MASTER-CLONE and Silver MASTER-CLONE, and also release compact discs Compact Disc:
Gold MASTER-CLONE it is the initial record, recorded on ML9600 High Resolution Master Disc Recorder (ALESIS) and kept on its hard disc; it is cloned on this device without intermediate rerecording. The circulation of absolutely identical copies of clones no more than 30 pieces, is burned on the best CD-R’s of the T.Y. company (Japan). One of the Gold master discs is passed on to a factory of compact discs for ordinary duplication, and the other absolutely identical 29 copies are subject to distribution through the shop, each with the autograph of A.Likhnitskiy and a stamp (AML+).
Silver MASTER-CLONE it a faultlessly executed digital copy of the initial record, that is, a copy of the Gold MASTER disc, carried out by means of High Resolution Master Disc Recorder (ALESIS) on which the Silver MASTER-CLONE are then duplicated, imperatively on T.Y. discs. Circulation of Silver MASTER-CLONE is subject to distribution through the shop, moreover, each copy with an autograph of A.Likhnitskiy's and a stamp (AML+).
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