This recording features the ensemble “Sonatori de la Gioiosa Marca,” specialized in the interpretation of the Italian Baroque repertoire, with the participation of violinist Giuliano Carmignola.
The recording was made in March 1992 in the Church of San Vigilio in Col San Martino. Sound engineer Michael Seberich used a selection of Schoeps microphones (MK 21 H, MK 25, MK 21, MK 4), a custom-made preamplifier, as well as an Apogee AD1000 AD/DA converter. Monitoring was carried out using Stax SRM-1 MK2 headphones with SRX MK3 and B&W 801 Matrix Series 2 loudspeakers.

For this review, you will find 4 versions tested:

• Ed 1: SACD – 2006
• Ed 2: Tidal – 1994
• Ed 3: Vinyl record – 2024
• Ed 4: CD – 1994

Is there truly a hierarchy between different media, or is it the mastering that primarily determines the sound quality?

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 12 tracks:

1. Spring – I. Allegro
2. Spring – II. Largo & Pianissimo Sempre
3. Spring – III. Danza Pastorale, Allegro
4. Summer – I. Allegro non Molto
5. Summer – II. Adagio / Presto
6. Summer – III. Presto
7. Autumn – I. Allegro
8. Autumn – II. Adagio
9. Autumn – III. Allegro
10. Winter – I. Allegro
11. Winter – II. Largo & Pianissimo Sempre
12. Winter – III. Danza Pastorale, Allegro

Summary, scoring and Samples

Ed 1: SACD – 2006

Presentation

This the Hybrid SACD remastered in 2006 présented in DSD64 (ref: FIM SACD 052)

Waveform and Spectrum: DR13

The waveform of the SACD – 2006 shows a high range confirmed with DR13.

The spectrogram below represents the SACD. The yellow arrow shows that the signal ut to 22 kHz (the upper limit of the digital master). We also find the characteristic noise of DSD64 beyond 30 kHz (white arrow).

The graph below compares the spectrum of the Tidal – 1994 (white curve) with the spectrum of the SACD – 2006 (blue curve). The curves overlap almost perfectly up to 3 kHz. Beyond this point (yellow area), the Tidal edition shows an increase in level, reaching nearly +8dB at 20 kHz. The yellow arrow indicates the 22 kHz limit observed on both the Tidal and SACD, which results from the sampling frequency used during recording. In this case, the SACD does not reproduce frequencies higher than those of the Tidal edition. The white arrow highlights the rise in SACD noise caused by the operating principle of the DSD64 format used for SACD production.

Synthesis and listening

This SACD version does not derive its appeal from an extended frequency range, the master being limited to 22 kHz, but rather from the balance of its tonal spectrum, which delivers a more natural sound than the Tidal version.

Rating:

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

Sample : L’Inverno – I. Allegro 24 bits 176.4 kHz:

Ed 2: Tidal – 1994

Presentation

This is the Tidal High version presented in 16 bits 44.1 kHz (link).

Waveform and Spectrum: DR13

The waveform of the Tidal – 1994 shows a high range confirmed with DR13.

The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.

The graph below compares the spectrum of the Tidal – 1994 (white curve) with the spectrum of the Vinyl One Step – 2024 (blue curve).

The two curves are very similar between 100 Hz and 15 kHz. Beyond 15 kHz (yellow area), there is a pronounced rise in the high frequencies on the vinyl record, exceeding +10 dB at 22 kHz. In the low-frequency range, below 100 Hz (green area), the vinyl record shows an increase in bass, with a few decibels gained between 45 and 100 Hz, and more than +20 dB below 35 Hz. This will affect the speakers’ performance in the lower part of the spectrum.

Synthesis and listening

The Tidal version features a tonal balance that noticeably emphasizes the treble, giving the overall sound greater immediacy and clarity, but at the expense of naturalness and overall spectral balance. Compared to the SACD version, the latter provides a more coherent reproduction, with better-preserved timbres. The difference is particularly noticeable in the violins, whose sound on Tidal tends to be brighter and slightly artificial.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●oo (3)

Sample : L’Inverno – I. Allegro 16 bits 44.1 kHz:

Ed 3: One Step vinyl record – 2024

Presentation

This is the limited and numbered One-Step vinyl edition (Audionautes Recording). This version consists of two 180 g LPs spinning at 45 rpm. The lacquer cutting was done on a Neumann VMS80, equipped with a Neumann SX-74 cutterhead and powered by a Neumann SAL74B (Ref : AN-2406).

Waveform and Spectrum: DR13

The waveform of the Vinyl One Step – 2024 shows a high range confirmed with DR13.

The spectrogram reveals that the signal extends beyond 22 kHz (yellow arrow), with the portion above this frequency (white arrow) showing distortion inherent to the vinyl record’s operating principle. What is remarkable about this vinyl edition is the very low level of distortion above 22 kHz (the upper limit of the digital master), indicating a minimal distortion rate thanks to the use of the One Step manufacturing process for the vinyl record.

The graph below compares the spectrum of the Vinyl One Step – 2024 (white curve) with the spectrum of the SACD – 2006 (blue curve).The two curves are very similar between 100 Hz and 15 kHz. Beyond 15 kHz (yellow area), there is a pronounced rise in the high frequencies on the vinyl record, exceeding +10 dB at 22 kHz. In the low-frequency range, below 100 Hz (green area), the vinyl record shows an increase in bass, with a few decibels gained between 45 and 100 Hz, and more than +20 dB below 35 Hz. This will affect the speakers’ performance in the lower part of the spectrum.

Synthesis and listening

This One Step edition stands out for its very low distortion level, as revealed by the spectrogram analysis. However, the mastering choices, particularly the correction applied in the low frequencies, affect the behavior of the loudspeakers. The +20 dB boost at 30 Hz can cause significant excursion of the bass driver, as observed on the system playing this record at the Hi-Fi Show (see the Haute Fidélité Paris 2025 video starting at 7 minutes and 24 seconds). When listened to, this vinyl record offers deeper bass, giving more substance to the sound reproduction. The tonal balance is more faithful to the instruments than on the SACD version, but with an excessive emphasis on the extremely high frequencies, which makes the micro-details in the sound reproduction stand out a little too much.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●● (5)
• Surface noise: ●●●●o (3.5)
• Restitution: ●●●●o (4)

Sample : L’Inverno- I. Allegro 24 bits 192 kHz:

Ed 4: CD – 1994

Presentation

Waveform and Spectrum: DR13

The waveform of the CD – 1994 shows a high range confirmed with DR13.

The spectrogram shows that the signal rises to 22 kHz (yellow arrow) with no signal above this frequency (white arrow) due to the 44.1 kHz sampling frequency.

The graph below compares the spectrum of the CD – 1994 (white curve) with the spectrum of the Tidal – 1994 (blue curve).The two spectral curves overlap almost perfectly. Therefore, both versions share the same tonal balance.

Synthesis and listening

The sound of the CD is similar to the Tidal version. It therefore presents a less natural tonal balance compared to the SACD and vinyl editions.

Rating:

• Dynamic: ●●●●o (4)
• Bandwidth: ●●●●o (4)
• Restitution: ●●●oo (3)

Sample : L’Inverno- I. Allegro 16 bits 44.1 kHz:

The SACD appeals through its natural tonal balance, while Tidal and CD focuse on a brighter clarity that comes at the expense of realism. The One Step edition, with its extremely low distortion, deeper bass, and more faithful instrumental rendering, stands out as the most expressive version, despite occasionally overemphasized high frequencies. Comparing the different formats of the same album clearly shows that mastering plays a major role and can have an even greater impact on the sound quality than the medium itself.

Dynamic Range measurements are shown below.

Subscribe to MagicVinylDigital

If you like this review, please subscribe. You’ll receive information on new articles directly in your inbox.

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).

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 4 editions reviewed have obtained the following Dynamic Range (DR) :

	SACD – 2006	Tidal – 1994	Vinyl record – 2024	CD – 1994
Global	DR13	DR13	DR13	DR13
Min	DR10	DR10	DR10	DR10
Max	DR15	DR16	DR14	DR14
Spring – I. Allegro	DR14	DR15	DR13	DR14
Spring – II. Largo & Pianissimo Sempre	DR13	DR13	DR12	DR14
Spring – III. Danza Pastorale, Allegro	DR13	DR13	DR12	DR13
Summer – I. Allegro non Molto	DR13	DR13	DR13	DR14
Summer – II. Adagio / Presto	DR15	DR16	DR14	DR14
Summer – III. Presto	DR13	DR13	DR13	DR13
Autumn – I. Allegro	DR13	DR14	DR13	DR14
Autumn – II. Adagio	DR10	DR10	DR10	DR10
Autumn – III. Allegro	DR12	DR13	DR14	DR13
Winter – I. Allegro	DR13	DR13	DR14	DR13
Winter – II. Largo & Pianissimo Sempre	DR11	DR11	DR12	DR11
Winter – III. Danza Pastorale, Allegro	DR12	DR13	DR13	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.

---