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[5] Igor Stravinsky: L'Histoire du Soldat (excerpt) (ADD) 0:56
Performers unknown

Recording Venue: Wilmington Music School, Wilmington, DE
Recording Date: 1968
Recording Engineer: J. Gordon Holt
Microphones: two Sony C37 cardioids in ORTF configuration
Recorder: Ampex 601/2 ¼" open-reel recorder at 7.5ips (NAB EQ)
Transfer to digital: Nakamichi 1000 R-DAT, ReVox A77 Mk.IV open-reel recorder
Digital Transfer Engineer: Robert Harley

"ORTF" refers to a technique devised by the French broadcasting organization (Office de…

[6] Sergei Prokofiev: Flute Sonata in D, Op.94, Allegro con brio (AAD) 7:00
Gary Woodward (flute), Brooks Smith (New York Steinway piano)

Recording Venue: Allan Hancock Foundation Auditorium, University of Southern California, Los Angeles, CA
Recording Date: June 12, 1989
Recording Engineer: Kavichandran Alexander (Water Lily Acoustics)
Producers: John Atkinson, Richard Lehnert
Analog tape editor: Hugh Davies
Microphones: two EAR The Mics (prototypes), set to figure-8 pattern, coincident at 90 degrees
Microphone preamplifier: EAR 824M…

[7] Franz Schubert: Ave Maria (DDD) 4:35
Takaoki Sugitani (violin), William "Pat" Partridge (Aeolian-Skinner organ)

Recording Venue: Christchurch Cathedral, St. Louis, MO
Recording Date: October 1990
Recording Engineer: John M. Blaine
Microphones: Three B&K 4006s (black grilles) in spaced-omni configuration, with a Schoeps MK4 cardioid on violin
Microphone preamplifier: Schoeps CMC 5
Recorder: Sony PCM-601ES A/D converter, Sony Beta VCR, transferred in the digital domain to Panasonic 3700 DAT recorder

[8] Traditional (arr.…

[9] J.S. Bach: Trio Sonata BWV 525, Adagio (ADD) 5:13
James Johnson (Flentrop organ)

Recording Venue: Busch-Reisinger Museum, Harvard University, Cambridge, MA
Recording Date: 1979
Recording Engineers: Peter W. Mitchell, E. Brad Meyer
Microphones: four Nakamichi CM-700s, two cardioid capsules in ORTF configuration, two widely spaced omnidirectional capsules
Microphone preamplifier: Mystic Valley Audio custom mixer
Recorder: ReVox A77 ¼" open-reel recorder at 15ips, with dbx noise reduction
Transfer to digital: Sony PCM-F1 (modified)…

[10] Mapping the Soundstage (ADD) 1:04
Larry Archibald (acoustic voice, footsteps, handclaps), John Atkinson (Cambridge Soundworks Ambiance loudspeaker)

Recording Venue: Universalist Unitarian Church, Santa Barbara, CA
Recording Date: January 29, 1990
Recording Engineer: Kavichandran Alexander (Water Lily Acoustics)
Microphones: two EAR The Mics set to figure-8 pattern, coincident at 90 degrees and spaced vertically by 2"
Microphone preamplifier: EAR 824M, Cardas microphone cables
Recorder: Ampex MR70 ½" open-reel recorder at 15ips
…

[11] Brahms: Intermezzo Op.117 No.1 in E-flat (AAD) 5:24
Robert Silverman, New York Steinway D

[12] Beethoven: "Mozart's Minuet in G" (ADD) 0:44
Robert Silverman, New York Steinway D

Recording Venue: Universalist Unitarian Church, Santa Barbara, CA
Recording Date: January 30, 1990
Recording Engineer: Kavichandran Alexander (Water Lily Acoustics)
Producer: John Atkinson
Analog tape editor: Hugh Davies (Brahms)
Microphones: two EAR The Mics set to figure-8 pattern, coincident at 90 degrees and spaced vertically by 2"
…

[13] Edward Elgar: The Dream of Gerontius, Part 1 (conclusion) (ADD) 7:07
Stephen Roberts (bass), Oundle & District Choral Society, St. Ives Choral Society, St. Neots Choral Society, Huntingdonshire Philharmonic, conducted by Christopher Brown, with Arthur Willis at the organ of Ely Cathedral

Recording Venue: Ely Cathedral, Ely, England
Recording Date: July 7, 1984
Recording Engineers: John Atkinson, Ivor Humphreys (footnote 6)
Microphone: Calrec (AMS) SoundField Mk.III, set to coincident figure-8 pattern at 90 degrees
Recorder: ReVox…

[14] Corey Greenberg: Eden (AAD) 3:14
Corey Greenberg (electric guitars)

Recording Venue: KBTS-FM Studio B, Austin, Texas
Recording Date: December 16, 1987
Recording Engineer: Corey Greenberg
Microphone: none (uh-oh...)
Recorder: Otari MX5050B-II ¼" 2-track and MX5050B-III 4-track open-reel recorders at 15ips (NAB EQ)
Recording Equipment: Tascam board, Yamaha SPX-90 digital effects unit, Chandler Tube Driver guitar preamp, Urei LA-4 compressors, Canare cable
Transfer to digital: Manley Analogue to Digital Converter, Aiwa HD-S1 DAT,…

[15] Pink Noise at -20dBFS (DDD) 1:24
Correlated between channels, then uncorrelated from 0:42

[16] Bass Decade 1/3-octave warble tones at -20dBFS (DDD) 2:47
Center frequencies: 200Hz (Index 1), 160Hz (Index 2), 125Hz (Index 3), 100Hz (Index 4), 80Hz (Index 5), 63Hz (Index 6), 50Hz (Index 7), 40Hz (Index 8), 31.5Hz (Index 9), 25Hz (Index 10), and 20Hz (Index 11)

[17] Midrange Decade 1/3-octave warble tones at -20dBFS (DDD) 2:32
Center frequencies: 250Hz (Index 1), 315Hz (Index 2), 400Hz…

[20] The Harmonic Series, 500Hz fundamental (L+R) (DDD) 0:24
500Hz, 1kHz, 1.5kHz, 2kHz, 2.5kHz, 3kHz, 3.5kHz, 4kHz, 4.5kHz, 5kHz, 5.5kHz, 6kHz, 6.5kHz, 7kHz, 7.5kHz, 8kHz, 8.5kHz, 9kHz, 9.5kHz, 10kHz, at -10dBFS

[21] Second-harmonic distortion (L+R) (DDD) 1:42
500Hz at -10dBFS + 0% second-harmonic distortion (Index 1), then 10%; 0% (Index 2), 3%; 0% (Index 3), 1%; 0% (Index 4), 0.3%; 0% (Index 5), 0.1%

[22] Third-harmonic distortion (L+R) (DDD) 1:42
500Hz at -10dBFS + 0% 3rd harmonic…