Nocturne is a contemporary chamber music album bringing together Brazilian cellist Lucas Garcia Muramoto and Japanese pianist Yu Nitahara, featuring works by Hisatada Otaka and Andr Mehmari. Recorded at Est dio Monteverdi in Sao Paulo, in a natural acoustic environment surrounded by the Atlantic Forest, the project was captured and produced by sound engineer Gustavo Candido (ADS Studio), known for his immersive and transparent recording approach.

The album highlights an intimate dialogue between cello and piano, where European, Japanese, and Brazilian influences intersect. The musical writing alternates between contemplative lyricism, expressive tension, and rhythmic colors inspired by Brazilian traditions, particularly in the Suite Brasileira.
The recording places particular emphasis on instrument presence, timbral clarity, and spatial realism, creating a strong sense of proximity and natural authenticity. In its immersive formats (5.1.4 / Dolby Atmos), the production aims to preserve the actual acoustic environment of the session rather than introduce artificial effects, thereby enhancing the listener s sense of being the original recording space.

The album is available on NativeDSD.com in several formats, including DXD stereo, 5.1.4, DSD stereo and 5.1, and 5.1.4 in Dolby Atmos TrueHD.

For this review, you will find 5 versions tested:

• Ed 1: MKV Dolby Atmos TrueHD – 2026
• Ed 2: Wav Stereo – 2026
• Ed 3: DXD 5.1.4- 2026
• Ed 4: DSD Stereo – 2026
• Ed 5: DSD 5.1 – 2026

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 6 tracks:

1. Nocturne
2. Suite Brasileira_I. Preludio – Seresta
3. Suite Brasileira_II. Choro – Cancao
4. Suite Brasileira_III. Frevo
5. Suite Brasileira_IV. Valsa Brasileira
6. Suite Brasileira_V. Baiao

Summary, scoring and Samples

Ed 1: MKV Dolby Atmos TrueHD – 2026

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: DR12

The waveform of the Dolby Atmos TrueHD – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the Atmos in 7.1.4 version of blu-ray 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 graph below represents the spectrum of the MKV Dolby Atmos TrueHD – 2026 (downmixed in 7.1).
The spectrum shows that the signal rises to 24 kHz with no signal above this frequency due to the 48 kHz sampling frequency. Only 5.0 channels are used. The LFE channel is not used.

Synthesis and listening

For this Dolby Digital TrueHD Atmos version, Gustavo Candido (from ADS Studio) created an Atmos ADM master using a 7.1 bed instead of a 5.1 bed. This approach ensures that Atmos decoding preserves proper 5.1.4 playback, thereby maintaining the album s original recording intent. Without this specific configuration, the Dolby decoder distributes the surround channels across both the side and rear surround speakers. As a result, the listening experience closely matches that of the DXD 5.1.4 version, while being much easier to implement since it only requires a Dolby Atmos decoder.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●o (4)
• Spatialization SP: ●●●●●●●●oo (8), SK: ●●●●●ooooo (5)
• Restitution: ●●●●o (4.5)

Ed 2: Wav Stereo – 2026

Presentation

This is the PCM stereo version presented in 24 bits 176.4 kHz.

Waveform and Spectrum: DR12

The waveform of the Wav Stereo – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram shows that the signal rises to 88.2 kHz with no signal above this frequency due to the 176.4 kHz sampling frequency.

The graph below compares the spectrum of the Wav Stereo – 2026 (white curve) with the spectrum of the DSD Stereo – 2026 (blue curve).The two spectral curves align perfectly up to 25 kHz. Above this frequency, the curve representing the DSD64 format (blue curve) rises sharply. This high-frequency noise is inherent to the operating principle of DSD64.

Synthesis and listening

The stereo version presented here in high-resolution PCM is the closest stereo equivalent to the original DXD version, adapted down to two channels. Although the original immersive presentation is inevitably lost, this stereo mix still delivers a highly detailed and dynamic rendering of the recording.

Rating:

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

Ed 3: DXD 5.1.4- 2026

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- 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram of the DXD 5.1.4 version shows that the signal goes down to 88.2 kHz and that there is no signal above this frequency , due to the 176,4 kHz sampling frequency used in the recording session.

The graph below represents the spectrum of the DXD 5.1.4- 2026.
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

During playback, all the subtlety and detail of the recording are fully preserved, with superb spatialization that immerses the listener at the very heart of the original 5.1.4 recording environment.

What stands out most is the natural immersive rendering of the listening experience. There are no artificial positioning effects here, only the pure result of the multichannel capture, delivering the highest possible level of fidelity and nuance from the original recording.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Spatialization SP: ●●●●●●●●oo (8), SK: ●●●●●ooooo (5)
• Restitution: ●●●●● (5)

Ed 4: DSD Stereo – 2026

Presentation

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

Waveform and Spectrum: DR12

The waveform of the DSD Stereo – 2026 version shows a very good dynamic range confirmed with DR12.

The spectrogram below represents the SACD. 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 Wav Stereo – 2026 (white curve) with the spectrum of the DSD Stereo – 2026 (blue curve).The two spectral curves align perfectly up to 25 kHz. Above this frequency, the curve representing the DSD64 format (blue curve) rises sharply. This high-frequency noise is inherent to the operating principle of DSD64.

Synthesis and listening

This version delivers a presentation similar to the stereo WAV version, preserving all the finesse and dynamic range of the original recording.


However, the final rendering between the DSD and WAV versions may vary depending on the DAC used and the internal processing applied to DSD and PCM formats.

Rating:

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

Ed 5: DSD 5.1 – 2026

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: DR12

The waveform of the DSD 5.1 – 2026 version shows a very good dynamic range confirmed with DR12.

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 DSD 5.1 – 2026.
The curves of the different channels clearly show the rise in noise above 25 kHz, a phenomenon inherent to the operating principle of DSD64. The LFE channel is not used.

Synthesis and listening

This version is particularly interesting for listeners equipped with a 5.1 system, as it reproduces as faithfully as possible the downmix derived from the DXD 5.1.4 version. It delivers an excellent sense of immersion in 5.1, even if it is naturally less enveloping than the native 5.1.4 presentation.


The refinement and musical detail of the DXD version are still clearly preserved, especially in the musicians performance and interplay. As for the final sound rendering, it will also depend on the DAC s internal processing between DSD and DXD (PCM) formats, which can vary significantly from one DAC to another.

Rating:

• Dynamic: ●●●oo (3.5)
• Bandwidth: ●●●●● (5)
• Spatialization SP: ●●●ooooooo (3.6), SK: ●●●●●ooooo (5)
• Restitution: ●●●●o (4)

On Nocturne by Lucas Garcia, Muramoto & Yu Nitahara, recorded by Gustavo Candido (ADS Studio), the Master DXD 5.1.4 remains the absolute reference, offering the most faithful and immersive expression of the recording, with remarkable precision, natural depth, and a perfectly coherent spatial image.
From this master, the Dolby TrueHD Atmos (MKV) version preserves a very close immersive structure, respecting the 5.1.4 intent (even on 7.1.4 systems), with a stable and fluid spatial rendering through Atmos decoding.
For listeners equipped with a 5.1 system, the DSD 5.1 version offers a slightly more compact soundstage while still preserving musicality, nuance, and the expressive qualities of the performance.
The recording is also available in high-resolution stereo, maintaining clarity, dynamics, and fine detail despite the reduction to a two-channel format.
Overall, the artistic and sonic signature of Lucas Garcia, Muramoto & Yu Nitahara remains fully perceptible, with each version offering a different yet coherent way to experience the album.

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) :

	MKV Dolby Atmos TrueHD – 2026	Wav Stereo – 2026	DXD 5.1.4- 2026	DSD Stereo – 2026	DSD 5.1 – 2026
Global	DR12	DR12	DR12	DR12	DR12
Min	DR11	DR11	DR11	DR11	DR11
Max	DR14	DR13	DR14	DR13	DR14
Nocturne	DR14	DR13	DR14	DR13	DR14
Suite Brasileira_I. Preludio – Seresta	DR11	DR11	DR11	DR11	DR11
Suite Brasileira_II. Choro – Cancao	DR11	DR11	DR11	DR12	DR12
Suite Brasileira_III. Frevo	DR12	DR12	DR12	DR12	DR12
Suite Brasileira_IV. Valsa Brasileira	DR12	DR11	DR13	DR11	DR13
Suite Brasileira_V. Baiao	DR12	DR12	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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