Cutting Up: Stereophile's Liszt Piano Sonata LP What, When, and How

Sidebar 4: What, When, and How

The works on Sonata were recorded with 20-bit resolution at the First United Methodist Church, Albuquerque, New Mexico, November 2-5, 1993. They were edited at 20-bit resolution in March 1996 using a Sonic Solutions Sonic Power Station v2.26 Digital Audio Workstation running on a Macintosh Quadra 650 computer. The final LP lacquers were cut on December 5, 1996 at AcousTech, Camarillo, California.

Pianism extraordinaire: Robert Silverman
Production: Robert Silverman & John Atkinson
LP Mastering: Stan Ricker
Recording: John Atkinson & Robert Harley
Editing/Mixing: John Atkinson
LP plating and stamper preparation: Gary Salstrom/RTI
LP Executive Producer: Gretchen Grogan
Assistant Producer (sessions): Maura Rieland
Steinway D piano: supplied by Riedling Music Company, Albuquerque, NM.
Piano Technician: Charles Rempel
Cover painting: On a Theme by Vermeer—Fanfare Variation, by Eugene Newmann, 1979, 60" by 48"

Equipment used (Recording): Schoeps KFM 6 Sphere microphone; two Brüel & Kjaer 4006 ½" omnidirectional microphones with black (diffuse-field) grids; Sonosax FD-M4 4-channel, solid-state microphone preamplifier; Cardas 300B Microtwin, AudioQuest Lapis, and Beyerdynamic balanced microphone cables; Nagra-D 4-channel, open-reel digital recorder.

Equipment used (Cutting): Nagra-D 4-channel, open-reel digital recorder; Meridian 518 Digital Audio Processor; Mark Levinson No.30.5 D/A processor; Mark Levinson No.38S preamplifier; Madrigal AES/EBU cable; AudioTruth Lapis x3 balanced interconnect ('30.5 to '38S); MIT MI-350 balanced interconnect ('38S to console); Neumann SP 272 console (modified); Zumaudio cutting computer; Lexicon Model 300 digital delay unit (preview); Audio Research V140 monoblock cutting amplifiers; Neumann VMS 70 cutting lathe (modified) with a Neumann SX 74 cutter head; Manley MB300 Signature (triode) monoblock power amplifiers (monitoring); and Wilson Audio Specialties WATT/Puppy V loudspeakers.

And our special thanks to: Chad Kassem (Acoustic Sounds/AcousTech); Don MacInnis (RTI/AcousTech); Danny Grimes & Nancy Belt (Nagra USA); Jerry Bruck (Posthorn Recordings); Bob Stuart (Meridian); Peter McGrath; David Smith (Sony Classical); George Cardas; Bill Low (AudioQuest); David and Eveanna Manley; Les Edelberg (Audio Power Industries); John Clark, First United Methodist Church, Albuquerque, New Mexico; and Meridian; Digital Domain; Stax; Sennheiser; Melos; Audio Alchemy; Headroom; B&W Sonic Frontiers, and Madrigal Audio Laboratories, whose components were used in the monitoring and editing.