Keith Jarrett - My Song -2015- -flac 24-192- -
Audiophile forums often argue that 96 kHz is the "sweet spot" and that 192 kHz can introduce ultrasonic noise. However, for acoustic jazz like this, the consensus is that 192 kHz captures the room tone of Talent Studio better than any other digital format. The recording engineer, Jan Erik Kongshaug, famously miked the piano and drums with minimal separation, relying on bleed for cohesion. In 24-192, that bleed—the sound of Christensen’s drums leaking into Jarrett’s piano mics—becomes musical rather than muddy. It tells you how they were positioned in the room.
This track highlights the rhythmic interplay between Danielsson’s double bass and Jarrett’s left hand.
The 24-bit/192kHz FLAC release allows the original production work of producer and legendary sound engineer Jan Erik Kongshaug to shine without CD-era digital compression.
Total isolation of instruments within a shared acoustic space Keith Jarrett - My Song -2015- -FLAC 24-192-
The 2015 high-resolution release is not just a digital update; it's a sonic preservation of the original session recorded at in Oslo. Engineered by the late Jan Erik Kongshaug , known for his "recording magic," the 24-bit/192kHz files capture the nuanced interplay of the quartet in startling detail.
Keith Jarrett's My Song is more than just a jazz album; it is an emotion, a landscape, and a timeless testament to the power of melody. The 2015 "Re:solutions" 24-bit/192kHz FLAC reissue is the definitive version of this masterpiece. It strips away the veil that has always existed between the listener and the master tape, revealing the breathtaking artistry of Jarrett, Garbarek, Danielsson, and Christensen with an intimacy and clarity that was previously impossible.
With such a reservoir of power, the amp500 can bring out the punch in the mid to upper registers as well. The pluck of Al DiMeola' (((Audio Pursuit))) TONEAudio MAGAZINE The Concierge of High End Audio 28-Aug-2010 — Audiophile forums often argue that 96 kHz is
Pair the system with open-back headphones or wide-soundstage studio monitors. The open architecture mirrors the open-room tracking methodology used by Jan Erik Kongshaug back in 1977.
Standard CDs are 16-bit, giving a theoretical dynamic range of 96 dB. The 24-bit FLAC gives you 144 dB. On "My Song," this is most apparent in the pianissimo passages. Listen to the intro of "Mandala": Jarrett’s fingers brushing the strings inside the grand piano, the subtle creak of the sustain pedal, and Christensen’s barely-touched cymbals—all of this exists below the noise floor of a CD. In 24-bit, that information is retrieved. The silence between notes is truly black, making the attacks feel three-dimensional.
Sampling the audio 192,000 times per second captures the exact waveform of the instruments. It restores the "air" around Garbarek's sax and eliminates the digital glare that often plagues older jazz trumpet and saxophone recordings. In 24-192, that bleed—the sound of Christensen’s drums
What you hear on My Song is not four individual musicians, but a single acoustic organism. Jarrett’s lyrical title track, the haunting “Country,” and the sprawling “Mandala” depend entirely on the group’s ability to blend dynamics. The original vinyl and early CD transfers were excellent, but they carried the limitations of their formats—compressed dynamic range and, in the case of early CDs, a slightly brittle top end.
The 2015 high-resolution remaster uncompresses that legendary studio space. Here is what the 24-bit/192kHz FLAC container delivers to the listener:
: A hauntingly simple, soulful title track where Garbarek’s saxophone is at its most lyrical and "emotionally wrenching".
The Ultimate Acoustic Transcendence: Re-evaluating Keith Jarrett’s My Song in 24-bit/192kHz FLAC
Audiophile forums often argue that 96 kHz is the "sweet spot" and that 192 kHz can introduce ultrasonic noise. However, for acoustic jazz like this, the consensus is that 192 kHz captures the room tone of Talent Studio better than any other digital format. The recording engineer, Jan Erik Kongshaug, famously miked the piano and drums with minimal separation, relying on bleed for cohesion. In 24-192, that bleed—the sound of Christensen’s drums leaking into Jarrett’s piano mics—becomes musical rather than muddy. It tells you how they were positioned in the room.
This track highlights the rhythmic interplay between Danielsson’s double bass and Jarrett’s left hand.
The 24-bit/192kHz FLAC release allows the original production work of producer and legendary sound engineer Jan Erik Kongshaug to shine without CD-era digital compression.
Total isolation of instruments within a shared acoustic space
The 2015 high-resolution release is not just a digital update; it's a sonic preservation of the original session recorded at in Oslo. Engineered by the late Jan Erik Kongshaug , known for his "recording magic," the 24-bit/192kHz files capture the nuanced interplay of the quartet in startling detail.
Keith Jarrett's My Song is more than just a jazz album; it is an emotion, a landscape, and a timeless testament to the power of melody. The 2015 "Re:solutions" 24-bit/192kHz FLAC reissue is the definitive version of this masterpiece. It strips away the veil that has always existed between the listener and the master tape, revealing the breathtaking artistry of Jarrett, Garbarek, Danielsson, and Christensen with an intimacy and clarity that was previously impossible.
With such a reservoir of power, the amp500 can bring out the punch in the mid to upper registers as well. The pluck of Al DiMeola' (((Audio Pursuit))) TONEAudio MAGAZINE The Concierge of High End Audio 28-Aug-2010 —
Pair the system with open-back headphones or wide-soundstage studio monitors. The open architecture mirrors the open-room tracking methodology used by Jan Erik Kongshaug back in 1977.
Standard CDs are 16-bit, giving a theoretical dynamic range of 96 dB. The 24-bit FLAC gives you 144 dB. On "My Song," this is most apparent in the pianissimo passages. Listen to the intro of "Mandala": Jarrett’s fingers brushing the strings inside the grand piano, the subtle creak of the sustain pedal, and Christensen’s barely-touched cymbals—all of this exists below the noise floor of a CD. In 24-bit, that information is retrieved. The silence between notes is truly black, making the attacks feel three-dimensional.
Sampling the audio 192,000 times per second captures the exact waveform of the instruments. It restores the "air" around Garbarek's sax and eliminates the digital glare that often plagues older jazz trumpet and saxophone recordings.
What you hear on My Song is not four individual musicians, but a single acoustic organism. Jarrett’s lyrical title track, the haunting “Country,” and the sprawling “Mandala” depend entirely on the group’s ability to blend dynamics. The original vinyl and early CD transfers were excellent, but they carried the limitations of their formats—compressed dynamic range and, in the case of early CDs, a slightly brittle top end.
The 2015 high-resolution remaster uncompresses that legendary studio space. Here is what the 24-bit/192kHz FLAC container delivers to the listener:
: A hauntingly simple, soulful title track where Garbarek’s saxophone is at its most lyrical and "emotionally wrenching".
The Ultimate Acoustic Transcendence: Re-evaluating Keith Jarrett’s My Song in 24-bit/192kHz FLAC
