Brothers In Arms is the 5th album of Dire Straits. It is the biggest success of the group with 30 million albums sold worldwide (about 2 million in France).

It was released in May 1985 and received a Grammy Award in 1986 for Best Engineered Album, Non-Classical.

Brothers in Arms is one of the first albums recorded on the Sony 24-track digital tape recorder.
This album was the benchmark album for CD player promotion at its release by exploiting the high dynamic range available on the CD and its full digital production, with DDDs indicating full digital production during recording, mixing, and mastering.

 This album has another particularity, indeed, the duration of the tracks is not the same for the CD and the vinyl. Originally the vinyl was released as a single disc, so the songs have been reduced in length to fit on both sides of a vinyl, the CD itself being 55 minutes.
This point has been corrected on the double vinyls, which take up the initial duration of the songs.

Find reviews of other Dire Straits albums:

• Money For Nothing
• Encores

The album includes the following tracks, duration depending on the media:

Technical:

• First Dire Straits album recorded in Digital.

This album includes 9 tracks : 

	CD	Simple Vinyl	Double Vinyl
So Far Away	5:12	3:59	5:12
Money for Nothing	8:26	7:04	8:26
Walk of Life	4:12	4:07	4:12
Your Latest Trick	6:33	4:38	6:33
Why Worry	8:31	5:22	8:31
Ride Across the River	6:58	6:55	6:58
The Man’s Too Strong	4:40	4:37	4:40
One World	3:40	3:36	3:40
Brothers in Arms	6:59	6:57	6:59

We will review 9 editions (4 Vinyls, 1 SACD, 2 CD, Streaming, Tidal Dolby Atmos) of this album.

First we will analyze each edition in detail (technical and qualitative analysis) then we will compare the successive editions with their dynamics and assign a final score and you will be able to listen some samples.

Summary

Review of the editions:

Ed1 : Japanese Vinyl Vertigo ‎ ref 28PP-1005 (1985)

Ed2 : Vinyl Vertigo ‎ Back To Black ref 3752907 remastered in 2014

Ed3 : Vinyl MOFI – ref MFSL 2-441 remastered in 2015

Ed4 : SACD MOFI‎ – ref UDSACD2099 remastered in 2013

Ed5 : CD Vertigo ‎ ref 824 499-2, (1985)

Ed6 : CD Warner Bros. Records‎ ref 9 47773-2, USA , Remastered SBM in 2000

Ed7 : Vinyl Abbey Road Studio ‎– ref ARHSDLP004 remastered in 2021

Ed8 : Streaming HD Album, Stereo, 16bit 44.1kHz, 1985

Ed9 : Streaming Tidal Dolby Atmos , 2023

Go to Dynamic

Go to Notation/Rating/Samples

Review

Ed1 : Japanese Vinyl Vertigo ‎ ref 28PP-1005 (1985)

Presentation

This is the original japanese pressing of the album on one Vinyl disc.

Label	Vertigo
Reference	28PP-1005
Format (speed)	single vinyl
Type	33.33 rpm
Master	Digital
Mastering/Pressing	Japan Pressing
Original recording	Digital
State	Japan
Year original	1985
Year production	1985

Waveform

The waveform represent the first track  “So Far Away”:

 This edition is very dynamic, we can see many attacks of the instruments that gives this dynamic rendering. Compared to the Ed3 (Vinyl MOFI), we can see that the signal is inverted along the horizontal axis, the signal is in phase opposition for this disc.

Spectrum

The Spectrum allows to check the tonal balance of the music (balance between treble, medium and bass sounds) and to detect process that may have been carried out during the recording, the mixing, mastering or manufacturing phases. It is also possible to detect frequency interference issues.

 The curve represents the average frequency distribution over the entire first title “So Far Away”.

The interesting features on this curve are the following:

1. The high frequency cuts at 20kHz (Yellow) which is the maximum frequency of the digital master.
2. The treble level above 10kHz is higher (Green) than on the Ed2, this confirms what we saw on the signal representation, and results in a higher DR.

Ed2 : Vinyl Vertigo ‎ Back To Black ref 3752907 remastered in 2014

Presentation

It’s the two discs vinyl remastered in 2014.

Label	Vertigo
Reference	3752907
Format (speed)	double vinyl
Type	33.33 rpm
Master	Digital, remastered in 2014
Mastering/Pressing	Europe Pressing
Original recording	Digital
State	Europe
Year original	1985
Year production	2014

Waveform

 The rendering is very different from the Ed1 edition, the overall sound level is higher and the small peaks of the instruments are less pronounced. Ed1 and Ed2 have the same scale  level. This difference will result in lower treble.

Spectrum

 The curve represents the average frequency distribution over the entire first title. The interesting features on this curve are the following:

1. Like all editions, the high frequency cuts to 20kHz (yellow)  which is the maximum frequency of the digital master.
2. The treble level above 10 kHz is decreasing (Green), this is the lowest level of the 6 editions. This results in a lower dynamic range than in the other editions. The trebles are less precise, less detailed when listening.

Ed3 : Vinyl MOFI – ref MFSL 2-441 remastered in 2015

Presentation

This is the MOFI pressing of the album on two Vinyl discs in 45 rpm.

Label	MOFI
Reference	MFSL 2-441
Format (speed)	Double vinyl
Type	45 rpm, Half speed Mastered
Master	Digital
Mastering/Pressing	Half speed Mastered
Original recording	Digital
State	US
Year original	1985
Year production	2015

Waveform

 We find here a very dynamic signal with the sharp peaks of the musical attacks as on the Ed1.

Spectrum

 The curve represents the average frequency distribution over the entire first title. The interesting features on this curve are the following:

1. The 20 kHz cut-off is clearly visible here (Yellow), with a very marked drop as on the digital versions (master is in 44.1 kHz).
2. The remastering exploits to the maximum the frequencies above 10 kHz (Green), it is the vinyl lz richer in treble.

Spectrogram

Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrogram, as for the spectrum (in Yellow), reveals the limit at 22 kHz due to the digital recording.

Ed4 : SACD MOFI‎ – ref UDSACD2099 remastered in 2013

Presentation

This is the MOFI SACD remastered in 2013.

Label	MOFI
Reference	UDSACD2099
Format (speed)	SACD
Type	DSD64
Master	Digital DSD, remastered in 2013
Mastering/Pressing	DSD64
Original recording	Digital
State	US
Year original	1985
Year production	2013

Waveform

We find here all the dynamics of the signal remastered by MOFI, with a raised treble level as we will see on the spectrum.

Spectrum

The interesting features on this curve are the following:

1. The accuracy of the digital here clearly shows the maximum frequency of the original master. Nothing above 20 kHz (Yellow), the original master is in 44.1 kHz.
2. The curve is very close to the Ed3 which corresponds to the vinyl version of the remastering.
3. The level between 40 and 60 Hz is lower here than the vinyl version (Blue), which will give a slightly lower bass support compared to the Ed3 vinyl MFSL.

Ed5 : CD Vertigo ‎ ref 824 499-2, (1985)

Presentation

This is the original CD of this Album recorded in 1985.

Label	Vertigo
Reference	824 499-2
Format (speed)	CD
Type	PCM 16 bits 44.1 kHz
Master	Digital 16 bits 44.1 kHz
Mastering/Pressing	CD
Original recording	Digital
State	Germany
Year original	1985
Year production	1985

Waveform

This edition of the CD is here very dynamic, we will find an accentuation of the treble which can be due to the mastering of the CD by the application of the option of possible pre-emphasis in the standard of the CD.

To serve as a comparison with the Ed6 (CD remastered SMB), here is the signal of the whole CD of the Ed5.

Spectrum

This version is similar to the Ed4 SACD Mofi, with the same treble level (green).

Ed6 : CD Warner Bros. Records‎ ref 9 47773-2, USA , Remastered SBM in 2000

Presentation

This is CD remastered SBM in 2000.

Label	Warner Bros. Records
Reference	9 47773-2
Format (speed)	CD
Type	PCM 16 bits, 44.1 kHz
Master	Digital Super Bits Mapping remastred
Mastering/Pressing	PCM 16/44.1
Original recording	Digital
State	US
Year original	1985
Year production	2000

Waveform

We find here a CD remastered in SMB (Super Bit Mapping), we find here a louder waveform, with reduced peaks on the attacks of the instruments in the treble. The difference of DR with the Ed2 results in more presence of the small peaks of the attacks which gives a DR14 for the song instead of the DR12 for the Ed2.

 To get a better idea of the impact of the compression that increases the overall level, here is the signal of all the songs on the CD. Compare it with the signal of the whole CD of the Ed5 to understand that by increasing the level we remove the peaks of dynamics to have a maximum straight line (red) on some songs.

Spectrum

 This version is similar to the Ed4 SACD Mofi, with the same treble level (green), but with a higher level of recording.

Ed7 : Vinyl Universal Music Abbey Road Studio ‎– ref ARHSDLP004 remastered in 2021

Presentation

Universal Music will reissue half-speed mastered double vinyls pressings at 45 rmp remastered at Abbey Road Studio by Miles Showell.

Label	Universal Music Compagny
Reference	ARHSDLP004
Format (speed)	Double vinyls
Type	45 rpm Limited Edition Half-Speed Master
Master	Digital 88.2 kHz
Mastering/Pressing	Mastered by Miles Showell at Abbey Road Studios, Half-Speed Mastered
Original recording	Digital
State	US
Year original	1985
Year production	2020

Waveform

We find here all the dynamics of the signal remastered by Abbey Road Studio, with a raised treble level as we will see on the spectrum.

Spectrum

The interesting features on this curve are the following:

• The accuracy of the digital here clearly shows the maximum frequency of the original master. Nothing above 20 kHz (Yellow), the original master is in 44.1 kHz.
• Bellow 10 kHz, the curve in blue (Vinyl MOFi Ed3) is a few dB higher than the Abbey Road Studio vinyl (White).
• The level between 40 and 60 Hz ( for Ed7 in white) is lower here than the Ed3 vinyl MOFI vinyl version (Blue), which will give a slightly lower bass support.
• Otherwise, the curves are very similar.

Spectrogram

Spectrogram is another representation of frequency versus time of a track. For each channel (right and left), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrogram, as for the spectrum (in Yellow), reveals the limit at 22 kHz due to the digital recording.

Surface Noise

Above 1 kHz, the noise level is very low, with an advantage to the Abbey Road Studio version.
Below 1 kHz, the situation is reversed and it is the MOFI release that has a lower surface noise than the Abbey Road release.
The pressing quality is therefore a bit better on the MOFI version which is also a more expensive edition than the Abbey Road version.

Ed8 : Streaming HD Album, Stereo, 16bit 44.1kHz, 1985

Presentation

Label	Vertigo
Reference	Amazon Music HD 16/44.1
Format (speed)	HD Streaming 16/44.1
Type	HD Streaming
Master	Digital 16/44.1kHz
Mastering/Pressing	Streaming HD
Original recording	Digital
State	US
Year original	1985
Year production	1985

Waveform

The graph clearly shows the differences in levels and thus in dynamics for this track. You can clearly see the differences in volume and musical instruments impact. No compression like the Ed6.

Spectrum

The interesting features on this curve are the following:

• The accuracy of the digital here clearly shows the maximum frequency of the original master. Nothing above 20 kHz , the original master is in 44.1 kHz.
• The two curves are similar but with a small difference above 3 KHz.

Ed9 : Streaming Tidal Dolby Atmos, 2023

Presentation

Label	Mercury Records Limited
Reference	Tidal Dolby Atmos
Format (speed)	Dolby Digital Plus or Dolby AC-4
Type	Streaming Atmos
Master	Dolby Atmos
Mastering/Pressing	Dolby Atmos
Original recording	Digital
State	US
Year original	1985
Year production	2023

Waveform

The graph clearly shows the differences in levels and thus in dynamics for this track. You can clearly see the differences in volume and musical instruments impact. No compression like the Ed6.

Spectrum

The interesting features on this curve are the following:

• The maximum frequency is limited to 20 kHz (yellow arrow) due to the Dolby Digital Plus encoding.
• In Atmos version decoded in 5.1, the audio signal is more important on front stereo channels (blue arrow).
• The bass channel is filtered at 120 Hz (green arrow).

Spectrogram

Spectrogram is another representation of frequency versus time of a track. For each channel (right, left, center, LFE, surrounds), horizontal axis represents time, and the vertical axis represents frequency. The amplitude is represented by the intensity (brightness) of the color of each point in the image.

The spectrogram, as for the spectrum (in Yellow), reveals the limit at 20 kHz due to the Dolby Digital Plus encoding.The Dolby Digital Plus encoding seeks to optimize the size and can limit the maximum frequency lower as shown by the red arrow. There is no signal above 20 kHz (white arrow). Encoding in Dolby TrueHD which is lossless would have kept the bandwidth of the original tracks at 22 kHz.

The bass channel is filtered at 120 Hz (green arrow) as can also be seen on the spectrum curve.

Spatialization

Spatialization allows you to define the sound distribution of the music on all the channels. The spatialization indicator and the description of the graph are described here.

We find an Atmos mix which will privilege a widening of the front sound scene until the side surround speakers and front top speakers. This brings a more important opening than the stereo version and widens the sound scene. It is a tendency to the Atmos mixing that we find more and more often (it is also the case for the album Midnights of Taylor Swift). This suits Dire Straits’ music very well, while maintaining a certain presence on the rear channels using more or less reverb.

Below the spatialization for the 9 tracks of Tidal Dolby Atmos version. Click on the images to zoom in.

Dynamic

We start this test by measuring the dynamic. Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. 

For our 9 editions we have obtained the following Dynamic Range (DR):

	Ed1 Vinyl 1985	Ed2 Vinyl 2014	Ed3 Vinyl MOFI	Ed4 SACD MOFI	Ed5 CD	Ed6 CD	Ed7 Vinyl Abbey	Ed8 Streaming	Ed9 Dolby Atmos
Global	DR15	DR12	DR15	DR15	DR16	DR12	DR15	DR14	DR15
DR Min	DR12	DR10	DR13	DR12	DR13	DR12	DR12	DR12	DR13
DR Max	DR18	DR13	DR18	DR19	DR20	DR14	DR18	DR19	DR18
So Far Away	DR18	DR12	DR18	DR19	DR20	DR14	DR18	DR19	DR15
Money for Nothing	DR17	DR12	DR16	DR16	DR18	DR11	DR17	DR16	DR18
Walk of Life	DR13	DR10	DR13	DR12	DR13	DR10	DR12	DR13	DR13
Your Latest Trick	DR14	DR11	DR15	DR14	DR14	DR13	DR14	DR14	DR15
Why Worry	DR12	DR12	DR13	DR13	DR13	DR12	DR12	DR12	DR15
Ride Across the River	DR16	DR13	DR15	DR16	DR17	DR12	DR15	DR15	DR15
The Man’s Too Strong	DR14	DR11	DR14	DR14	DR14	DR12	DR14	DR14	DR15
One World	DR17	DR12	DR16	DR17	DR18	DR12	DR17	DR14	DR15
Brothers in Arms	DR14	DR11	DR14	DR14	DR15	DR12	DR14	DR14	DR15

 The DR vary globally from 12 to 16, is a very good dynamic. There are even tracks above DR17. As a reminder, the scale goes from 0 to more 20, but the dynamics are considered good from 12, quite good between 10 and 11, and deteriorate below 10.

A low DR deviation (1 or 2) may be due to compression or a different treble level. Indeed, an increase in trebles has the effect of accentuating the perception of dynamics during listening but also during measuring.

The Ed2 and Ed6 editions have a lower DR12 which will be seen on the signal representation of both editions.

Notation/Rating/Samples:

Ed1: Brothers in Arms . Japanese Vinyl label Vertigo ‎ ref : 28PP-1005, 1985.

Very nice Japanese pressing from 1985, with very good dynamics and very precise highs. The background noise is very good. Only one regress, the duration of the tracks is shorter than on the CD or double discs vinyls.

• Rating:
  • Dynamic: ●●●●o (4/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 24 bits 88.2 kHz:

Ed2 : Brothers in Arms . Vinyl label Vertigo ‎ Back To Black ref : 3752907 remastered in 2014.

Version remastered in 2014 on 2 disks.
The tracks have the original CD length. The disc has more attenuated highs with less dynamics, which gives a slightly different balance with less detail at the top of the spectrum. 

• Rating:
  • Dynamic:  ●●●oo (3/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●oo (3/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 24 bits 88.2 kHz:

 Ed3 : Brothers in Arms . Vinyl label Mobile Fidelity Sound Lab‎ ref : MFSL 2-441 remastered in 2015.

Version remastered by MOFI in 2015 on 2 disks in 45rpm.
The tracks have the original CD length. The disc has the most precise highs of the 3 editions with a very high dynamic range.
The pressing is very good, with a very low surface noise. The best vinyl edition for this album.

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●● (5/5)
  • Restitution: ●●●●o (4.5/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 24 bits 88.2 kHz:

 Ed4 : Brothers in Arms . SACD  Mobile Fidelity Sound Lab‎ ref : UDSACD2099 remastered in 2013. 

The MOFI remastered SACD version is very similar to the 45rpm double vinyl version.
It does not have the small 2dB increase of the vinyl between 40 and 60 Hz, which gives it an even more dynamic listening experience.
Certainly the best digital version for this album with the original Vertigo CD edition of 1985.

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●● (5/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 24 bits 88.2 kHz:

Ed5 : Brothers in Arms . CD  label Vertigo ‎ ref : 824 499-2, 1985. 

Original edition of the CD very well remastered.
Very good sound rendering that exploits well the recording made in pure digital.

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4.5/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 16 bits 44.1 kHz:

Ed6 : Brothers in Arms . CD  label Warner Bros. Records‎ ref : 9 47773-2, USA , Remastered SBM in 2000.

This remastered version has been worked very well. In spite of a lower dynamic range, the sound level is higher and the treble is still present. The listening remains pleasant but less detailed than the two other digital supports.

• Rating:
  • Dynamic: ●●●●o (4/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●oo (3.5/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 16 bits 44.1 kHz:

Ed7 : Vinyl Universal Music Abbey Road Studio ‎– ref ARHSDLP004 remastered in 2021

Version remastered by Abbey road Studio in 2021 on 2 disks in 45rpm.
The tracks have the original CD length. The disc has a very high dynamic range like MOFI.
The discs are of very high quality, with a balance and sound precision a little different from the MOFI version.
The rendering is a bit warmer, less digital. The pressing quality is nearly perfect but with little more surface noise than the MOFI version.

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Surface noise: ●●●●o (4/5)
  • Restitution: ●●●●o (4.5/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 24 bits 88.2 kHz:

Ed8 : Streaming HD Album, Stereo, 16bit 44.1kHz, 1985

The streaming version is dynamic, precise with finesse of the voice and instruments.
It overcomes the CD (Ed6) in terms of quality, but it does not rival the MOFI versions in quality. It is difficult to know precisely the origin of this edition and master.

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Restitution: ●●●●o (4/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) 16 bits 44.1 kHz:

Ed8 : Streaming HD Album, Stereo, 16bit 44.1kHz, 1985

The Atmos mix brings more openness and separation in the instruments, it is very visible in 7.1.4 listening where we have a sound image that is really 180 degrees in width, but also in height.
This album shows the importance of a configuration in 7.1.4 and not 5.1.4 for listening in Dolby Atmos.this sound space is created by a redistribution of sounds and a little reverberation depending on the tracks. This Atmos version is successful and deserves to be listened to to discover Dire Straits in a different way.

Concerning the finesse of the sound restitution, the Dolby Atmos version available is in Dolby Digital Plus 768 kBits/s, it is a lossless encoding, a Dolby Digital TrueHD version (lossless encoding) on Bluray would allow to find completely the finesse of the versions

• Rating:
  • Dynamic: ●●●●● (5/5)
  • Bandwidth: ●●●●o (4/5)
  • Spatialization: ●●●●●●●●oo (8.5)
  • Restitution: ●●●●o (4/5)

• Two samples : “SO Far Away” (Sample1) and “The Man’s Too Strong” (Sample 2) in Dolby Atmos decoded in 5.1:

The samples are in 5.1 wav format, if you can not play the sample in your navigator, you can save it, right button menu and “Save Audio As…” and play it with an external player.

The choice between the 8 versions will depend on what you are looking for (Update with the vinyl remastered by Abbey road). If you are looking for an original version the Japanese vinyl (Ed1) and the CD Vertigo (Ed5) are the best choices.
If you are looking for a remastered version that makes the most of the rendering and dynamics, in digital format, the MOFI SACD (SACD Ed4) is for you. The Streaming version gives a better result than the Ed6 CD. But does not have the same mastering quality as the MOFI version.
Now, if you are looking for the best remastered vinyl, you have the choice between the MOFI or Abbey Road Studio release.They are both very nice versions, with the Abbey Road Studio Release (Ed7) being a little warmer and cheaper, and the MOFI release (Ed3) being a little more detailed in the high and low frequencies, with less surface noise.
The album being entirely digital, the choice of a digital version is very relevant to find the closest possible the original rendering.

Update of the review with the Dolby Atmos version: after years of listening to Dire Straits in stereo, the switch to Atmos was a bit confusing at first, the 180 degrees sound opening is not usual, nor even the exploitation of the surrounds like “The Man’s Too Strong”. But, after listening to the album in Dolby Atmos in 7.1.4, when we come back to stereo, we lose this sound space, there is then like a lack. This Atmos version is successful and deserves to be listened to to discover Dire Straits in another way. The Dolby Atmos version would equal the finesse of the stereo version with a Dolby TrueHD encoding (without loss) on a blu-ray instead of the Dolby Digital Plus used in streaming.

Detail of the ratings :

• Dynamic :
  1. Significant dynamic compression, DR less than 7
  2. Compression of the present dynamics, DR between 7 and 9.
  3. Correct piece DR >=10
  4. No dynamic compression (DR >12), dynamic rendering
  5. No dynamic compression, high DR and very dynamic sound rendering
• Spectrum :
  1. Spectrum cut and less than 15 khz
  2. Spectrum cut at 15 khz
  3. Spectrum not conforming to the original and cut (not HD) or original but limited bandwidth (but less than 20 kHz)
  4. Spectrum conforming to the original (but not HD)
  5. Spectrum conforming to the original with HD resolution (higher than 24kHz)
• Surface noise (only for vinyl):
  1. Continuous audible noise
  2. Audible surface noise except on passages with a high level of noise
  3. Reduced surface noise, barely audible on low level crossings
  4. Low surface noise, very good quality
  5. Very low surface noise, no defects, almost inaudible on the quiet passages (exceptional disc)
• Spatialization :
  • Between 0 and 5 for 5.1 or 7.1 channels configuration
  • Between 0 and 10 for Atmos configuration (7.1.4)
  • For more information on spatialization, you can read the article describing this parameter here.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.
• Restitution :
  1. Low quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  2. Average quality of the restitution mixing dynamics, clarity, separation of voices and instruments.
  3. Quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Good record.
  4. High quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Very high level disc.
  5. Maximum quality of the restitution mixing dynamics, clarity, separation of voices and instruments. Exceptional disc.

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