With Invisible Cities Part2, the independent label ADS delivers far more than a simple recording: it offers a true sonic and artistic immersion. Behind this project stand André Mehmari (piano, bass synthesizer, Minimoog) and Sergio Reze (drums, percussion, gongs), long-time collaborators who have cultivated for nearly thirty years a musical dialogue of rare intensity.
Recorded in a single day, without rehearsals, edits, or overdubs, Invisible Cities is above all an experience of spontaneous creation: each piece is born in the moment, like an ephemeral “sonic city” unfolding through improvisation.

On the technical side, ADS, founded by Gustavo Cândido, remains true to its philosophy: capturing music in its purest authenticity, using immersive microphone configurations and a minimalist production approach. The recording, made in high-resolution 5.0.4 immersive format, is available in DXD, DSD, and Hi-Res PCM, as well as immersive formats such as Dolby Atmos , ensuring a listening experience that places the listener at the very heart of the performance with an audiophile approach.

The ADS room is a fully digital environment, equipped with state-of-the-art technology, top-tier gear, and the latest software. Currently, the layout can be configured for immersive productions in 5.0.4, Surround 5.0, and Stereo 2.0 formats. The main surround layer features Danish Dynaudio Contour S Series monitors, while the height layer uses Dynaudio Emit 20 speakers, powered by amplifiers from PRIMARE and Cambridge. The setup is complemented by MAGNUM HYBRID speaker cables and THE INTEGRATION HYBRID interconnect cables, both from VAN DEN HUL.

The room is equipped with a Merging Technologies HAPI MKII Premium AD/DA converter capable of up to DSD256, RME FIREFACE 802 and ADI-2 PRO FS interfaces and converters, a TC Electronic REVERB4000, Icon Series, and Clarity M surround meter. The studio also utilizes powerful and flexible DAWs like Reaper and Merging Pyramix, which offer highly efficient audio processing capabilities.

For all recordings under the ADS label, we use premium converters and preamps from Merging Technologies, microphones from DPA, Schoeps, and Neumann, cables from Van Den Hul and VAN DAMME, a RME ADI-2 PRO FS headphone amplifier, and Sennheiser HD600 headphones. The album is available for download on NativeDSD in Stereo (DSD64, DS128, DSD256, DSD512, DXD, WAV 176.4kHz), 5.1 format (DSD64, DS128,DSD256, DXD, FLAC 96 kHz) and 5.1.4 (DXD and Dolby Atmos TrueHD in MKV) formats.

You can also find the first album, Invisible Cities: Part One on NativeDSD.

For this review, you will find 5 versions tested:

• Ed 1: DSD64 5.1 – 2025
• Ed 2: DSD64 Stereo – 2025
• Ed 3: DXD 5.0.4 352.8 kHz – 2025
• Ed 4: PCM 5.1 – 2025
• Ed 5: PCM Stereo – 2025

Below you will find the description of the different editions, as well as the measurements of each edition in the following chapters.

The album is composed of 9 tracks:

1. Carta a um Jovem Poeta
2. Toada ao Anoitecer
3. Rituais
4. Lamento do Sertão Interior
5. Folk Song
6. Blue Mambo
7. Solar
8. Continuum
9. Valsa Gris

Summary, scoring and Samples

Ed 1: DSD64 5.1 – 2025

Presentation

The DSD64 version is delivered as a 5.1 DSF file, encoded in DSD64 (2.8224 MHz / 1-bit).

Below the spatialization for all tracks. Click on the images to zoom in.

Below the video of the spatialization for the track Solar.

Waveform and Spectrum: DR15

The waveform of the DSD64 5.1 – 2025 shows a very high range confirmed with DR15.

The spectrogram below represents the DSD files in 5.1. The yellow arrow shows that the signal rises well above 20 kHz. We also find the characteristic noise of DSD64 beyond 30 kHz (white arrow).

The graph below represents the spectrum of the DSD64 5.1 – 2025.
The spectrogram below represents the SACD in 5.1. The yellow arrow shows that the signal rises well above 20 kHz. We also find the characteristic noise of DSD64 beyond 30 kHz (white arrow).

Synthesis and listening

The sound reproduction of the 5.1 DSD version is very close to that of the 5.1 PCM version, offering a comparable soundstage and spatialization.
However, subtle differences may arise between the two formats: these are less a matter of the recording itself than of the digital-to-analog conversion process, as the DAC’s behavior can vary depending on whether it handles a DSD or PCM stream. Consequently, the final listening experience will largely depend on the architecture and optimization of the converter in use.

Rating:

• Dynamic: ●●●●● (5)
• Bandwidth: ●●●●● (5)
• Spatialization: ●●●●o (3.8)
• Restitution: ●●●●o (4)

Sample : Solar 5.1 24 bits 176.4 kHz:

The sample is 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.

Ed 2: DSD64 Stereo – 2025

Presentation

The DSD64 version is delivered as a stereo DSF file, encoded in DSD64 (2.8224 MHz / 1-bit).

Waveform and Spectrum: DR14

The waveform of the DSD64 Stereo – 2025 shows a high dynamic range confirmed with DR14.

The spectrogram below represents the DSD Files. The yellow arrow shows that the signal rises well above 20 kHz. We also find the characteristic noise of DSD64 beyond 30 kHz (white arrow).

The graph below compares the spectrum of the DSD64 Stereo – 2025 (white curve) with the spectrum of the PCM Stereo – 2025 (blue curve).The spectrum of the PCM file matches that of the SACD version up to 24 kHz. Beyond this frequency, the DSD version shows an increase in noise, characteristic of DSD64 encoding. The PCM version, on the other hand, extends up to 88 kHz, a limit set by its 176.4 kHz sampling rate.

Synthesis and listening

The sound reproduction of the stereo DSD version is very close to that of the stereo PCM version, offering a comparable soundstage and spatialization.
However, subtle differences may arise between the two formats: these are less a matter of the recording itself than of the digital-to-analog conversion process, as the DAC’s behavior can vary depending on whether it handles a DSD or PCM stream. Consequently, the final listening experience will largely depend on the architecture and optimization of the converter in use.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●● (5)
• Restitution:●●●oo (3.5)

Sample : Solar 24 bits 176.4 kHz:

Ed 3: DXD 5.0.4 352.8 kHz – 2025

Presentation

The DXD version is delivered as a 5.1.4 WAV file, encoded in PCM (352,8 kHz /24 bits). In this DXD format as a WAV file, the album size is massive, reaching 23.5 GB.

Below the spatialization for all tracks. Click on the images to zoom in.

Below the video of the spatialization for the track Solar.

Waveform and Spectrum: DR13

The waveform of the DXD 5.0.4 – 2025 shows a high dynamic range confirmed with DR13.

The spectrogram shows that the signal extends up to 88 kHz (yellow arrow), with no musical information present beyond this limit (white arrow). This cutoff is directly related to the 176.4 kHz sampling rate used during the original recording, which defines the maximum usable bandwidth.
Consequently, the DXD mastering at 352.8 kHz does not add any additional high-frequency content but merely provides a higher-resolution working format.

The graph below represents the spectrum of the DXD 5.0.4 – 2025.
The pectrum of the DXD 5.1.4 shows that the signal extends up to 88 kHz (yellow arrow), with no musical information present beyond this limit (white arrow). This cutoff is directly related to the 176.4 kHz sampling rate used during the original recording, which defines the maximum usable bandwidth.
Consequently, the DXD mastering at 352.8 kHz does not add any additional high-frequency content but merely provides a higher-resolution working format.

I asked the engineer Gustavo Candido: “why switch to DXD format for mixing and broadcasting when the recording is done at 176 kHz?“, who replied:
“In answer to your question, I would say that your observation is correct.
Converting files to a higher sampling rate does not create more bandwidth in the frequency spectrum. However, processing files at a higher sampling rate, such as DXD, results in better technical quality in both the mixing and mastering phases, as well as when rendering the master files for delivery to the end consumer.
I sometimes use a reverb plug-in and/or an equalization filter to make minor adjustments. Working with these digital tools in oversampling mode reduces or eliminates potential errors, such as aliasing, clipping, and quantization distortion.
The DAW itself benefits from this process by creating more accurate renderings.
Additionally, modern DACs use smoother filters to decode DXD and DSD files.
In the near future, all ADS label productions will be recorded in DXD format, thus creating higher bandwidth resolution.”

Synthesis and listening

This is the reference format for this recording. Playback is completely transparent, with a bandwidth of up to 88 kHz. This is the advantage of the DXD format over Dolby Atmos, which is limited to a maximum frequency of 24 kHz. The sound is incredibly natural, with every nuance of timbre and reverberation faithfully preserved. You really feel like you’re sitting in the Monteverdi studio, surrounded by the musicians. The drum sound is very airy, a result of the recording technique used. A similar effect can be heard on the album POLARITY, recorded by Morten Lindberg. For those with equipment compatible with 5.1.4 DXD playback, this is undoubtedly the most faithful and spectacular experience for immersing yourself in the music among the musicians.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●● (5)
• Spatialization: ●●●●●●●●oo (8.4)
• Restitution: ●●●●o (4)

Sample : Solar 5.1.4 24 bits 352.8 (downmixed in 176.4) kHz:

The sample is in 5.1.4 wav format, if you can not play the sample in your navigator correctly, you can save it, right button menu and “Save Audio As…” and play it with an external player.

Ed 4: PCM 5.1 – 2025

Presentation

The PCM 5.1 version is delivered as a 5.1 FLAC file, encoded in PCM (96 kHz / 24 bits).

Below the spatialization for all tracks. Click on the images to zoom in.

Below the video of the spatialization for the track Solar.

Waveform and Spectrum: DR12

The waveform of the PCM 5.1 – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal rises to 48 kHz with no signal above this frequency (white arrow) due to the 96 kHz sampling frequency.

The graph below represents the spectrum of the PCM 5.1 – 2025.
The 5.1 is based on a sampling frequency of 96 kHz, limiting the bandwidth to 48 kHz. The LFE channel is not used.

Synthesis and listening

The PCM 5.1 version is the result of a downmix from the DXD 5.1.4 version. It retains the spatial capture achieved with microphones in a 5.0.4 configuration, but without the height channels. As a result, some of the volume and sonic breadth of the DXD version is lost. Nevertheless, the rendering still conveys a strong sense of space and captures the overall recording of the instruments, with a perceptible three-dimensional quality in the sound.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Spatialization: ●●●●o (3.8)
• Restitution: ●●●●o (4)

Sample : Solar 5.1 24 bits 96 kHz:

The sample is 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.

Ed 5: PCM Stereo – 2025

Presentation

The PCM stereo version is delivered as a stereo WAV file, encoded in PCM (176.4 kHz / 24 bits).

Waveform and Spectrum: DR14

The waveform of the PCM Stereo – 2025 shows a high dynamic range confirmed with DR14.

The spectrogram shows that the signal extends up to 88 kHz (yellow arrow), with no signal present above this threshold (white arrow), due to the 176.4 kHz sampling rate limitation.

The graph below compares the spectrum of the DSD64 Stereo – 2025 (white curve) with the spectrum of the PCM Stereo – 2025 (blue curve).The spectrum of the PCM file matches that of the SACD version up to 24 kHz. Beyond this frequency, the DSD version shows an increase in noise, characteristic of DSD64 encoding. The PCM version, on the other hand, extends up to 88 kHz, a limit set by its 176.4 kHz sampling rate.

Synthesis and listening

The PCM 2.0 version comes from a downmix of the DXD 5.1.4 version. Reducing it to two channels inevitably results in a loss of spatiality and volume. Nevertheless, the stereo version preserves the character of the recording, providing a very open separation of the instruments, enhanced by the overhead microphone capture that emphasizes this sense of space.

Rating:

• Dynamic: ●●●●o (4.5)
• Bandwidth: ●●●●● (5)
• Restitution:●●●oo (3.5)

Sample : Solar 24 bits 176.4 kHz:

ADS joins the world of spatial recording that we explored with Morten Lindberg and the album YULE.
With Invisible Cities – Part Two, ADS demonstrates that pure improvisation can give rise to a work that is as coherent as it is inspired. Musically, the album bears witness to the creative complicity between two artists who know each other inside out.
Technically, ADS illustrates the expertise of a label that puts immersive high fidelity at the service of art by plunging us into the heart of the music, with a very airy sound.
But to fully enjoy it, you need to be able to listen to it in DXD 5.1.4, or if that’s not possible, in DSD/PCM 5.1 in order to appreciate the spatialisation of the recording and all the work done by Gustavo Candido at the ADS studio.

Dynamic Range measurements are shown below.

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Measurements

Dynamic Range comparaisons

Dynamic represents the ability to reproduce a wide range of sounds from the softest to the loudest. The target is to compare the dynamics of the music and not of the media (CD, digital files or vinyl).

For our 5 editions reviewed have obtained the following Dynamic Range (DR) :

	DSD64 5.1 – 2025	DSD64 Stereo – 2025	DXD 5.0.4 352.8 kHz – 2025	PCM 5.1 – 2025	PCM Stereo – 2025
Global	DR15	DR14	DR13	DR12	DR14
Min	DR12	DR12	DR12	DR11	DR12
Max	DR17	DR15	DR14	DR13	DR15
Carta a um Jovem Poeta	DR12	DR14	DR14	DR12	DR15
Toada ao Anoitecer	DR17	DR14	DR12	DR13	DR14
Rituais	DR15	DR14	DR13	DR12	DR14
Lamento do Sertão Interior	DR16	DR12	DR12	DR12	DR13
Folk Song	DR15	DR13	DR12	DR11	DR12
Blue Mambo	DR17	DR15	DR12	DR13	DR14
Solar	DR15	DR13	DR12	DR11	DR13
Continuum	DR16	DR14	DR14	DR12	DR14
Valsa Gris	DR15	DR13	DR12	DR11	DR13

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.

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.

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