VOL . I

UNC OMP RE SSE D W ORL D

PUREST AUDIO-

NATURAL
DYNAMICSPLAYBACK CAREFULLY!
A U D I O P H I L E
R E C O R D I N G S

In 2009 ACCUSTIC ARTS the World renowned and Award winning High End Audio brandof SCHUNK AUDIO ENGINEERING (SAE) located in Southern Germany, joined forces
with the music-production and recording branch of SAE ‘Evolve Studios’ to establish
a new Audiophile record label ACCUSTIC ARTS RECORDS. Our philosophy is to promote
audiophile music in a way that appreciates the work of the producers, engineers andmusicians putting emphasis on the recorded music to be released.
These experts rarely in the spotlight preferring the dim lights of their studios overthe hype and publicity that dominates the music world today, yet it is these people and their production/recording knowledge, experience and skills which are thetrue basis of any outstanding piece of music. Putting emphasis and focus on thesemasterminds of music is also the basic idea of the first in the series, ‘Uncompressed
World’.

Important mastering insights on Uncompressed World Vol. 1:
For the first volume we have been concentrating on instrumental music pieces only,
putting instruments and recording depth in focus. The tasks we set with the songs on
Uncompressed World Vol. 1, (which have been very carefully selected from numerous
listening sessions in terms of recording quality), was to bring them to the final
Master with zero loss of quality. Not an easy task indeed, as the individual tracks
have been recorded in different time periods. The material therefore was recordedwith different recording formats and levels and required to be adjusted. This wasdone by using a Pro Tools HD system. After many comparisons we decided to use
the POW-R #1 dithering algorithm to convert some tracks to 44.1 khz/16 bits. The CD
pre mastering itself was done with Sonic Pre Master on DDP to also work on an ideal
no loss basis.
We hope you enjoy the music on this CD as much as we enjoyed compiling it and wish
you many hours of musical pleasure with ‘Uncompressed World Vol. 1’.

Milan Sajé

Rasmus Muttscheller

Steffen SchunkCLAUDIATR ACK NO. 2 BODY AND SOUL

TR ACK NO. 3

Producer Johannes Wohlleben:

Producers Büdi Siebert, Matthias Frey and Prof. Gibbs Platen:

The songs have been something special for the stars Paquito d’Rivera and Arturo
Sandoval to play together again after such a long time.
Both were members of the legendary band Irakere and had left Cuba at different
times. Therefore the album is titled ‘Reunion’. This gave the recording sessions a
special atmosphere.

When the involved musicians play from the heart this touches the heart of the listener. And when those involved are also professionals, the result is a perfect sound.
Just the right number of notes: no more, no less.

A true but crisp and clear sound was required. The characteristics of the instruments
should come across clearly and create an ideal sound through the best possible balance. This in combination with a good recording session would result in a feast for
the ears.
Some technical insights in the production:
This recording is from the era of reel to reel with a digital recording in Otari/Prodigi
format with Neumann (va) microphones, but also Schoeps, B&K, AKG. The mixer wasa Cadac. The usual peripherals were used, e.g. Urei, Jünger, Lexicon 480, etc.

T WO TREES

The recording was made in Matthias Frey’s studio. We recorded some improvisations
together which were edited and turned into ‘compositions’ with overdubs. Transformed to ADAT with a good converter and mixed at Gibbs Platen’s studio on an ADT
console with Lexicon, Quantech and other legendary studio effects equipment. We
edited the track on the Soundscape hard disk recorder.
We only work with people who we like. We don’t choose the ‘best’ musicians or producers, but rather those who are the ‘most human’ because for us music is a question of energy and not just a technical experience.
Some technical insights in the production:
We used mostly Neumann as well as one legendary Horch microphone. The soundscape hard disk recording system provides a wonderful sound, crash-free and handling in our opinion as intuitive as past analogue recording equipment, but with theadvantages of digital technology.

Büdi Siebert

Matthias Frey

Gibbs Platen

Paquito d’Rivera

Arturo Sandoval

TR ACK NO. 1

SAMBIENTA

Matthias Frey

Johannes Wohlleben

PAmagieRA

TR ACK NO. 4

TR ACK NO. 5

FEATHERS AND FLAMESArtist and Co Producer Volker Schlott:

Producer Matthias Frey:

PAmagieRA is an association for chamber music with the intention to combine acoustic music with electronic elements. It is the aim to put artistic value as well as soundquality in the spotlight.

The Voyage Oriental project was to be a musical journey down the silk road and to
this end I had invited soloists from Egypt, Turkey and Germany. This concrete interaction and the direct contact with each other are very important for me. I presented
my compositions to the musicians and talked about the connected historical associations. The intensive co-operation in the studio resulted in some wonderful arrangements allowing the artists to express themselves freely with a fine touch.

PAmagieRA primarily consists of the two musicians Henning Schmiedt (keyboards,
piano, composition) and Volker Schlott (saxophone, composition). We love to workwith guest musicians on studio projects and so we did in the case of Sambienta,
which was produced in 1998 in the former SFB (now RBB) studios in Berlin. The teamof Recording Engineer Wolfgang Hoff is famous and renowned for creating that extra
special feeling in audiophile recordings.
Some technical insights in the production:
The conditions for chamber music are very good in this studio. The recording wasdone in the chamber music hall with special miking e.g. ‘soprano sax’ with 2 microphones, stereo distance approximately 30 centimeters. Most instruments have been
synchronized by overdubbing and an electronic track was added as a sort of basis.
Both music and arrangement have spontaneously been changed, varied and improvised. Most microphones used were from Neumann and the recording was done on
digital level. Mastering finally took place at Bauer Studios in Ludwigsburg and wasdone by Johannes Wohlleben.

Intensive music is best made in an atmosphere where an artist is free and feels
comfortable. If he or she can play from the heart, the composition and interpretation
combine to realise excellent harmonics. So it’s very important for me that the recording room is arranged in a way that the equipment is more in the background andnot too dominant, because in the end it’s just a means to an end. My studio is right inthe country and before and during the recording the artists can gaze over meadowsand forests. This feeling of space is transferred into the playing of the musicians andtherefore considerably enriches the interaction and creativeness.
Some technical insights in the production:
Roland 94 channel digital mixing console, recording medium HD recorder (96 kHz),various mics from AKG, Sennheiser and Beyer, Yamaha grand piano.

Zlaya Hadzic

Joeri Saal

TR ACK NO. 6

I DREAMED IN THE CITIES AT NIGHT

Producer Joeri Saal:
This piece was made for a DVD about the Dutch poet Remco Campert. The music
was to accompany spoken poems and capture the atmosphere of these poems. The
themes/melodies were prepared by Benjamin Herman and the band played whilelooking at the DVD and listening to the poems. The music came out very satisfactoryso the plan arose to release an Album with just the music but not the poems. The
problem with this plan however lied in the length of the songs since it were all short
poems.
That’s why we set up a new session to record more elaborate versions of the songs.
It proved to be not easy to capture the same atmosphere for the players but also forme to get the same sound, although we used the same microphones, pre-amps etc. I
think you can state that there is a lot to sound that lies in a specific mood. Everybody
working on the project plays a role in creating this mood. In the end we all went backto watch the DVD again and for some songs playing with it to get close to where wecame from.

Some technical insights in the production:- Microphone list:
Drums: Kick Electrovoice Re20; Snare Josephson e22s; Snare bottom Sennheiser
e604; HiHat Profipower (dyn); OH AKG C-28; Kit-mic Royer 121
Bass: Bottom 2x Neumann U67 (stereo); Fingerbord Neumann KM64
Piano: Uher 453; Neumann U67 (stereo)
Saxophone: Neumann M269 micpre PV76
Room: Neumann TLM50

If possible I like to record with as many players as possible in the same room.
Obviously acoustics, skill level of the musicians and the style of music you record
determine the number of musicians that you can record in one go. But if possible theresult will always have a certain homogeneity that adds to the sound of the recording. Cross-talk between instruments is often perceived as a difficulty but they can bea great sound tool!

Concerning technical devices I especially like the Binson Echorec, or for that mattera wide collection of all sorts of tape delay. I like these delay machines a lot for thesame reason I like real plate and spring reverbs: They blend really musical in a mix.
Sometimes when you listen to the effect solo it is hard to believe that the result will
be great because they can sound metallic or just ugly. In the case of Binson Echorec(a fast delay pattern/reverb machine) the solo effect can sound quite saturated oreven distorted, but when used carefully on saxophone for example it gives great
depth to the sound.

- Gear used on this project:
Desk SSL4000G
Reverb: Sony dre777; AKG BX-10 (springverb); Binson Echorec
Compression: Gates SA-39 (stereo); Manley Vari-mu; Manley Elop
EQ: Neumann PEV; Neumann W491a; Telefunken W395a; Siemens W295a

THE LAST WALTZDANCING KATCHINASTR ACK NO. 9 SOLEIL
TR ACK NO. 8

Producer Friedemann Witecka:

Producer Friedemann Witecka:

Listening to this composition from Philippe Geiss, the saxophonist from the Alsace
who has worked with me since the early eighties, you can hear an interesting mixtureof steel and nylon stringed guitars, often described as semi-acoustic, and classicalguitars.

The individual sound of Ralf Illenberger’s guitar is due to a number of reasons. Firstly
the way he plays using different guitar tunings where he seldom uses the traditional
E-A-D-G-H-E tuning generates a distinctive harmonic sound unusual for guitars.
He reinforces this characteristic by multi-tracking the guitar, often even with othertunings. This creates duplications enabling strong but natural beats and a wide soundrange. Then some artificial chorus and phasing effects are added. Finally the instruments are recorded with microphones, something we seldom did for the guitars.

I always record my guitars on multiple channels. This enables use of the pick-ups
integrated in the guitar (in the steel stringed guitar: a Barcus Berry on the acoustic
canopy and a shadow in the base) along with a stereo microphone arrangement.
Some technical insights in the production:
Over the years we’ve tried out many microphones and have finally ended up with a
Sennheiser MKH40 which has been used on all instrument recordings since 1995. The
solo guitar sound is enhanced with an Alesis Midiverb III, an effects device which is not
so exclusive but is interesting for its chorus and flanging programs.
In 1989 I began to set up my own studio. There I work with a Pyramix from Merging,with ADI-8 Pro converters from RME, other converters from Kuhnle Elektronic and a
32 channel analogue inline console from ADT Gerd Juengling. The peripherals include
PCMs 81 + 90 from Lexicon, a M3000 from TC and a number of older units from TL
Audio, Kuhnle, Roland, and Yamaha, etc. I was never a machine fetishist. Since theintroduction of digital technology for professional equipment the standard is sufficiently high with all manufacturers and so my old maxim is still true: in the end itcomes down to what you make of it.

Usually Ralf preferred to play through his effect rack directly to the mixer via thepick-up systems integrated in his Takamine and Washburn guitars. This means thatduring the recording session he could recreate a good stage sound. This sound characteristic is a long way from the natural sound of an acoustic guitar. But no one candispute the sound has its own aesthetic quality, something which has enabled the
Swabian who now lives in the US to become popular and well-known internationallysince the beginning of his musical partnership with Martin Kolbe in the seventies.

Friedemann Witecka

Ralf Illenberger

Friedemann Witecka and Band

Friedemann Witecka

TR ACK NO. 7

OPUS 10

Tineke Postma and Band

Johannes Wohlleben, Joe Fagan,
Eva Bauer-Opelland

Bauer Studio 1

TR ACK NO. 10

TR ACK NO. 11

BAR CELTA

Producers Eva Bauer-Opelland and Johannes Wohlleben:

Producers Harry Velleman and Tineke Postma:

This recording is the culmination of many years of listening, learning and growing.
As musicians we must always maintain an open mind to reinvent new ways of playing
old songs and to continue to challenge each other both musically and artistically.
Thanks to the musicians on this song for sharing their talent and their time for creating something so wonderful to be enjoyed for many years.

Bar Celta is one of the eleven but very special tracks of the wonderful compositionsof Amsterdam based saxophone player Tineke Postma on her album ‘A journey thatmatters’ on FMJazz. She is a rising star on the international music scene. This recording captures the beauty of her music and the sound of her Selmer saxophones. She
is standing in your listening room giving you the sensation that she is especially performing for you. Music is emotion and should be captured and recorded with passion
and respect both for the artist and the listener.

Opus 10 is a latin tune which has been recorded in 2007. We especially like the textureAlex Papa provides with his percussion work.
Some technical insights in the production:
The tracks were played together with all the musicians. The large recording roomof the Bauer Studio 1 with 200 sqm. provided excellent acoustics for the acoustic
instrumental recordings.
Microphones: Piano: SM 69 / Bass: U87 /Drums: U47, SM57, AKG C-451, B&K 4011,
Beyer / Percussions: AKG C 414, KM 184
Console: AMS Neve VXS 60/60 analog
DAW: Pyramix Virtual Studio
D/A Conversion: Apogee AD-16x
Periphery: Lexicon 960L

Some technical insights in the production:
We used Solid State Logic Desk for recording because of the micophone preamps
and Euphonix Analogue Desk for mixing because it provides computer assistancebut 100% analogue sound processing. Dynaudio and Tannoy Monitoring are being
used because ‘what you hear is what you get’. Tube Preamps to avoid digibuzz andlack of ambience in the soundstage and Tube/Condensator microphones like vintage
Telefunken. Apogee Converters for 2 channel track or DVD 6 channel mixdown Digital
Protools HD to be compensated by the use of tube and analogue equipment andmicrophones.
I never master in the same studioroom as where the mixdown took place. I trust on
the second opinion of the mastering engineer to make the best possible transferfrom high resolution 24 bit rough mixtracks to ‘standard 16 bit CD format’ This is themost critical moment that can upgrade a very good mix to an excellent level.

SPLIT

Büdi Siebert at Cheops Pyramid

Mi Tierra

Milan Sajé

TR ACK NO. 12

BONUS TR ACKCOSMIC SOUL

Producers Milan Sajé and George Kousa:

Producer Büdi Siebert:

The final takes were made late at night to get the right feeling for the song, which isdedicated to the city of Split. Hopefully the song reflects the beautiful impressions
and flair of this Croatian Mediterranean city.

The whole CD Pyramid Call was recorded after meditation in the large pyramids inGizeh. An extraordinary and rare opportunity.

I (Milan) try as often as possible to keep the ‘magic moment’, as emotion is more
important than technical perfection. For me it’s also important to do the recording in
one take if this is possible. The question of whether to use only analog or only digital
is not my priority. The best of both worlds in combination has always worked well forme.
Some technical insights in the production:
For each guitar two pairs of KM84 Neumann microphones were used. The signal thenwent via Telefunken V676 and Siemens V276 mic preamps directly to the Apogee
AD converter and was recorded on a Pro Tools HD. It was then mixed in Pro Tools using an AMEK mixer for the analogue result. Mainly Neumann OEV, PEV, and Siemens
W295b as external equalizer were used. Apogee and the Accustic Arts TUBE-DAC II
converter were used for the D/A conversion.
Reverbs: Lexicon 224XL, EMT 252, Quantec.
Limiters: Universal Audio LA-2A, 1176LN, NTP 179-160,GSSL, Massey TDM/HD Plug Ins.
Monitoring: Accustic Arts PROLINE MK 3.

One year before I was also able to record there and despite low modulation and correct recording the pieces were distorted which under normal circumstances is notpossible. In this case I simply connected my Sony DAT recorder to an Audio-Technica
stereo microphone and without modulation pressed the record button. I then played
for about 55 minutes, being in a full trance after approx. 1 minute.
Previously we had experienced some technical problems because a generator was set
up in the pyramid and made some noise. So I just had this one hour at my disposal.
Having given up all hope and by just playing, I was able to achieve perfect timing anda perfect recording. The most intensive solo concert of my life.
This was then mastered by Mario Tauro using high-end mastering equipment. Otherwise it’s a 1 to 1 recording.

COMPOSERS, WRITERS, ARTISTS & CO.

CLAUDIA:
Artists: Paquito d’Rivera feat. Arturo Sandoval
Composer: Jesus ‘Chucho’ Valdes
C+P by Timba Records
Recorded at Bauer Studios Germany by Johannes Wohlleben
Mixed by Johannes Wohlleben, Paquito d’Riviera and Götz A. Wörner
Produced by Götz A. Wörner / Uwe Feltens
BODY AND SOUL:
Artists: Paquito d’Rivera feat. Arturo Sandoval
Composers: Edward Heman, Robert Sour, Frank Eyton, Johnny GreenC+P by Timba Records
Recorded at Bauer Studios Germany by Johannes Wohlleben
Mixed by Johannes Wohlleben, Paquito d’Riviera and Götz A. Wörner
Produced by Götz A. Wörner / Uwe Feltens
TWO TREES:
Artists: Büdi Siebert, Matthias Frey
Composers: Büdi Siebert, Matthias Frey
C+P by Araucaria Music
Recorded at Amberg Studio, Herold
Recorded by Gibbs Platen and Kurt Hummel
Mixed at Horch Studio by Gibbs Platen and TRI
SAMBIENTA:
Artist: PAmagieRA
Composer: Henning Schmiedt
Produced by Johannes Wohlleben (Peregrina) and Ulf Drechsel (radio kultur on SFB & ORB)
Recorded and mixed 1998 at SFB-Studio by Wolfgang Hoff, Ekkehard Stoffregen & Willi Leopold
Mastered January 1999 at Bauer Studios, Ludwigsburg by Johannes Wohlleben
Musicians: Volker Schlott (sax, fl.); Henning Schmiedt (piano, keyb.); Uli Moritz (perc.);
Daniel Gioa (perc.); Martin Lillich (bass); Jörg Huke (tb)Peregrina PM 059 50181

FEATHERS AND FLAMES:
Artist: Matthias Frey
Composer: Matthias Frey
Musicians: Can Yoldas (percussion); Michael Lücker (guitar); Basem Darwish (oud);
Matthias Frey (piano, keyboards)
I DREAMED IN THE CITIES AT NIGHT:
Artist: Benjamin Herman
Composer: Benjamin Herman
Recorded and mixed at Studio 150 by Joeri Saal
Mastered by Zlaya Hadzic
Musicians: Benjamin Herman (alto sax); Gideon van Gelder (piano);
Sean Fasciani (double bass; Joost Kroon (drums)
Taken from the album ‘Campert’ by Benjamin Herman, Roach Records/Dox
THE LAST WALTZ:
Artist: Friedemann Witecka
Composer: Philippe Geiss
ISRC: DEA690376100
Publisher: Edition Miss U, c/o Vollton Musikverlag GmbH & Co. KG
GEMA Werknummer: 7802933
Producer: Friedemann Witecka
CD: Short Stories, Biber Records 76761; original release: 2003
Label: Biber Records
Musicians: Friedemann Witecka (guitars); Philippe Geiss (alto sax, keyboards);
Emmanuel Séjourné (marimba); Markus Faller (drums)
Engineers: Adrian von Ripka (recording); Johannes Wohlleben (mix)Studio: Studio F, Bollschweil, Germany
Mastering: Hans-Jörg Mauksch at Pauler Acoustics, Northeim

COMPOSERS, WRITERS, ARTISTS & CO.

DANCING KATCHINAS:
Artist: Ralf Illenberger’s Circle
Composer: Ralf Illenberger
ISRC: DEA699252010
Publisher: Edition Miss U, c/o Vollton Musikverlag GmbH & Co. KG
GEMA Werknummer: 2935935
Producer: Friedemann Witecka and Ralf Illenberger
CD: Soleil, Biber Records 66521; Original release: 1993
Label: Biber Records
Musicians: Ralf Illenberger (guitars); Joerg Reiter (keyboards); Büdi Siebert and Jon Otis (percussion)Peter Keiser (bass); Walter Keiser (drums)
Engineer: Johannes Wohlleben.
Studio: Bauer Studios, Ludwigsburg
SOLEIL:
Artist: Ralf Illenberger’s Circle
Composer: Ralf Illenberger
ISRC: DEA699252040
Publisher: Edition Miss U, c/o Vollton Musikverlag GmbH & Co. KG
GEMA Werknummer: 2935936
Producer: Friedemann Witecka and Ralf Illenberger
CD: Soleil, Biber Records 66521; original release: 1993
Label: Biber Records
Musicians: Ralf Illenberger (guitars); Joerg Reiter (piano, keyboards); Büdi Siebert (marimba); Peter
Keiser (bass); Walter Keiser (drums)
Engineer: Johannes Wohlleben.
Studio: Bauer Studios, Ludwigsburg

OPUS 10:
Artist: Joe Fagan Quartet feat. Barbara Bürkle
Composer: Joe Fagan
ISRC: DED810724730
Publisher: Manuskript
Producers: Eva Bauer-Opelland and Johannes Wohlleben at Bauer Studios
Musicians: Joe Fagan (piano); Markus Bodenseh (bass); Armin Fischer (drums); Alex Papa (percussion)
CD: My Foolish Heart CACD8291
Label: Chaos LC 07326
Album: ACCD8291 My Foolish Heart
Engineer: Johannes Wohlleben
Mastering: Philipp Heck
BAR CELTA:
Artist: Tineke Postma
Composer: Tineke Postma
Original Album Name: A Journey that Matters
Company/Label: A Foreignmedia FMJazz release 93524
Published by: Foreign Media Music/Pennies from Heaven
Recorded at Wisseloord Studios, Hilversum, Netherlands April 21-22, 2007
Engineer: Michiel Hoogenboezem
Mastering: Polyhymnia Baarn, Netherlands, Sander van der Heide, May 10, 2007
Producers: Tineke Postma and Harry Velleman
Executive Producer: Martijn BoschSPLIT:
Artist: Mi Tierra
Composers: George Kousa and Robert Sakic
Produced by Milan Sajé and George Kousa
Mixed by Milan Sajé at Daylight Studio II Stuttgart / Germany
Cosmic Soul:
Artist Büdi SiebertComposer: Büdi Siebert
Recorded & Produced by Büdi Siebert at Cheops Pyramid, Egypt
Mastering: Mystical Hounters Studio Stuttgart/Germany by Marco Fioravanti and Mario Tauro