Chiaroscuro is the new solo album by Brazilian pianist Paulo Braga, a major figure in Brazilian instrumental music with more than thirty years of collaboration with S o Paulo s musical avant-garde. In this project, Braga offers an intimate exploration of the piano through a profound dialogue with the work of composer Arrigo Barnab , interpreting a selection of waltzes adapted for solo piano.
Each piece was chosen for its ability to evoke rich narrative and emotional worlds, even without lyrics. The album highlights both Paulo Braga s technical mastery and his deep artistic connection to Barnab s open, bold, and distinctive musical language. More than a tribute, Chiaroscuro stands as a long-matured and intimate dialogue with the work of a major composer.
Recorded in discrete immersive 3D audio by Gustavo Candido (from ADS Studio), the album is available in high-resolution multichannel formats as well as Dolby Atmos, offering an immersive listening experience in which the piano s nuances gain depth, presence, and definition. The sound design enhances the interplay of light and shadow “chiaroscuro” which gives the album its name and defines the aesthetic character of the music.
Chiaroscuro thus represents a unique and valuable contribution to the Brazilian piano discography, revealing a lyrical and sensitive dimension of Arrigo Barnab s post-avant-garde universe while inviting the listener into an intimate, immersive, and deeply musical sonic experience.
The album is available on NativeDSD.com in several formats, including DXD stereo, 5.1, and 5.1.4 in Dolby Atmos TrueHD.

For this review, you will find 5 versions tested:

• Ed 1: DXD 5.1.4 – 2025
• Ed 2: MKV Dolby Atmos TrueHD – 2025
• Ed 3: Stereo 24 bis 192kHz – 2025
• Ed 4: Stereo DSD64 – 2025
• Ed 5: DSD64 5.1 – 2025

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

The synthesis of the review are available here.

The album is composed of 9 tracks:

1. Sinhazinha em chamas
2. Cidade Oculta
3. Londrina
4. Luar
5. Luzes e Sombras
6. Vai, menina, vai (Anita)
7. Todo Cora o
8. Ano bom
9. Lenda

Summary, scoring and Samples

Ed 1: DXD 5.1.4 – 2025

Presentation

This is the master presented in DXD 5.1.4. The file is encoded in PCM 5.1.4 24 bits 354.8 kHz.

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

Waveform and Spectrum: DR12

The waveform of the DXD 5.1.4 – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal extends up to 88 kHz , with no musical information present beyond this limit. 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 5.1.4 – 2025.
The Spectrum of the DXD 5.1.4 shows that the signal extends up to 88 kHz , with no musical information present beyond this limit. This cutoff is directly related to the 176.4 kHz sampling rate used during the original recording, which defines the maximum usable bandwidth.

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.

Synthesis and listening

It is always a great pleasure to listen to a master version of an album, especially when it is presented in DXD 5.1.4 format. This format allows the listener to fully enjoy the exceptional finesse of the recording, the richness of the timbres, and the subtlety of the spatial imaging. Immersive audio truly places the listener at the heart of the music, delivering a wide, natural, and well-structured soundstage. It beautifully highlights the piano both in texture and dynamics and makes it possible to fully appreciate the artist s musical interpretation, down to the finest nuances and intentions.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Spatialization: ●●●●●●●●●o (8.7)
• Restitution: ●●●●● (5)

Sample : Vai, menina, vai (Anita) 5.1.4 24 bits 88.2 kHz:

The sample is in 5.1.4 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: MKV Dolby Atmos TrueHD – 2025

Presentation

This is the MKV file with Dolby Atmos encoded in lossless in Dolby Digital TrueHD Atmos with the 5.1.4 format of the master.

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

Waveform and Spectrum: DR11

The waveform of the MKV Dolby Atmos TrueHD – 2025 version shows a good dynamic range confirmed with DR11.

The spectrogram of the Atmos in 7.1.4 version shows that the signal goes down to 24 kHz and that there is no signal above this frequency , due to the 48 kHz sampling frequency used with Dolby Digital TrueHD encoding (lossless). The bass channel (LFE) is not used.

The graph below represents the spectrum of the MKV Dolby Atmos TrueHD – 2025.
The Dolby Atmos remix decoded in 5.1.4 is based on a sampling frequency of 48 kHz, limiting the bandwidth to 24 kHz. The LFE channel is not used.

Synthesis and listening

To access 5.1.4 playback, the MKV Dolby Digital version is the simplest and most universally compatible option to implement. It can be played directly through an AV receiver or a multichannel processor capable of decoding this format, without requiring any special configuration or dedicated hardware (see the details above regarding 5.1.4 Dolby Digital TrueHD playback in the Trio Callas Mozart_Brahms_Mehmari review). In a 5.1.4 setup, the artistic and spatial integrity of the original recording is largely preserved. Although a very slight loss of transparency and refinement may be noticeable compared to the DXD version particularly in terms of micro-detail and air this option still allows listeners to fully appreciate the outstanding 5.1.4 production and spatial mixing work of the album. It delivers a coherent and convincing immersive experience, accessible to a wide range of compatible home cinema systems.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization: ●●●●●●●●●o (8.7)
• Restitution: ●●●●o (4.5)

Sample : Vai, menina, vai (Anita) 5.1.4 24 bits 48 kHz:

The sample is in MKV format, you can save it, right button menu and “Save Audio As…” and unzip the file and play it with an external player and a Dolby Atmos decoder.

Ed 3: Stereo 24 bis 192kHz – 2025

Presentation

This is the PCM stereo version presented in 24 bits 192 kHz.

Waveform and Spectrum: DR12

The waveform of the Stereo 24 bis 192kHz – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal extends up to 88 kHz , with no musical information present beyond this limit. This cutoff is directly related to the 176.4 kHz sampling rate used during the original recording.

The graph below compares the spectrum of the Stereo DSD64 – 2025 (white curve) with the spectrum of the Stereo 24 bis 192kHz – 2025 (blue curve).The two spectral curves overlap perfectly up to 22 kHz. Beyond this frequency, the DSD64 spectrum curve (white curve) rises sharply. This high-frequency noise is inherent to the operating principle of DSD64.

Synthesis and listening

The rendering of the 24-bit, 176.4 kHz PCM version is very close to that of the DSD64 version. A very subtle difference can be observed in the upper end of the spectrum, with a slightly smoother sound for DSD64. However, this difference may vary depending on the processing applied within the DAC for DSD and PCM formats.

Rating:

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

Sample : Vai, menina, vai (Anita) 24 bits 176.4 kHz:

Ed 4: Stereo DSD64 – 2025

Presentation

This is the DSD stereo version presented in DSD64 (format used in the SACD).

Waveform and Spectrum: DR12

The waveform of the Stereo DSD64 – 2025 version shows a very good dynamic range confirmed with DR12.

The spectrogram below represents the DSD64 mkv. 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 Stereo DSD64 – 2025 (white curve) with the spectrum of the Stereo 24 bis 192kHz – 2025 (blue curve).The two spectral curves overlap perfectly up to 22 kHz. Beyond this frequency, the DSD64 spectrum curve (white curve) rises sharply. This high-frequency noise is inherent to the operating principle of DSD64.

Synthesis and listening

The rendering of the DSD64 version is very close to that of the 24-bit, 176.4 kHz PCM version. A very subtle difference can be observed in the upper end of the spectrum, with a slightly smoother sound for DSD64. However, this difference may vary depending on the processing applied within the DAC for DSD and PCM formats.

Rating:

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

Sample : Vai, menina, vai (Anita) 24 bits 176.4 kHz:

Ed 5: DSD64 5.1 – 2025

Presentation

This is the DSD 5.1 version presented in DSD64 (format used in the SACD).

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

Waveform and Spectrum: DR13

The waveform of the DSD64 5.1 – 2025 shows a high range confirmed with DR13.

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).

The graph below represents the spectrum of the DSD64 5.1 – 2025.
The curves of the different channels clearly show the rise in noise above 22 kHz, a phenomenon inherent to the operating principle of DSD64. It can also be observed that the low-frequency effects (LFE) channel is not used.

Synthesis and listening

This DSD 5.1 version is derived from a downmix of the DXD 5.0.4 master and then encoded in DSD64, the format used for SACD. It retains all the finesse and richness of the original master while delivering a very well-crafted spatial presentation on a 5.1 system. Although the height channels of the 5.0.4 mix, which provide full 360-degree immersion, are absent, the 5.1 rendering remains of a very high standard. The listening experience is still spacious, coherent, and immersive, placing the listener at the heart of the recording in 5.1 system.

Rating:

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

Sample : Vai, menina, vai (Anita) 5.1 24 bits 88.2 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.

Following the magnificent album by the Trio Callas, ADS Studio presents a new immersive recording with this album by Paulo Braga. This production truly places the listener at the very heart of the music, thanks to a particularly refined and expressive recording approach. The 5.0.4 mix allows the listener to perceive the piano performance with great precision (dynamics, nuances, and physical presence) creating the impression of being extremely close to the instrument. The soundstage is deep, natural, and enveloping.
If you have the opportunity, it is highly recommended to listen to this album on a 5.1.4 system in order to fully appreciate the richness, depth, and immersive quality of this outstanding production.

Dynamic Range measurements and spectra 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) :

	DXD 5.1.4 – 2025	MKV Dolby Atmos TrueHD – 2025	Stereo 24 bis 192kHz – 2025	Stereo DSD64 – 2025	DSD64 5.1 – 2025
Global	DR12	DR11	DR12	DR12	DR13
Min	DR11	DR11	DR11	DR11	DR12
Max	DR13	DR13	DR13	DR13	DR14
Sinhazinha em chamas	DR12	DR11	DR13	DR13	DR13
Cidade Oculta	DR12	DR12	DR11	DR11	DR13
Londrina	DR12	DR12	DR12	DR12	DR13
Luar	DR11	DR11	DR12	DR12	DR12
Luzes e Sombras	DR13	DR13	DR13	DR13	DR14
Vai, menina, vai (Anita)	DR12	DR11	DR11	DR11	DR12
Todo Cora o	DR12	DR11	DR13	DR13	DR13
Ano bom	DR11	DR11	DR12	DR12	DR12
Lenda	DR11	DR11	DR12	DR12	DR12

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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