SOUND LIAISON goes live in the studio, with 4 concerts.
Being recorded
in DXD multitrack and one direct to 2 Track Analog Tape.

Our spiritual adviser, Harry van Dalen, owner of the eminent High End audio shop Rhapsody, and guru in all things concerning audiophile audio, came upon the idea of letting Carmen Gomes Inc. remake the famous Harry Belafonte LP; Harry Belafonte Sings the Blues.

He was not looking for an exact copy but and interpretation inspired by the mood and the sound of the album.

He suggested that his partner in crime, Michael van Polen together with Frans , would then record the concert, using analog equipment, direct to a Studer Reel to Reel tape machine, while Sound Liaison could simultaneously record the proceedings in 352.8 kHz (DXD) multitrack, using our newly acquired Merging Technologies DXD recording system.

Carmen immediately loved the idea, as she has grown up listening to that album and other ’’Sings the Blues’’ albums from Nina Simone, Memphis Slim, Aretha Franklin and last but not least Ray Charles, those albums being part of her father's vast LP collection.

That same week we were also approached by the Music Centre of Broadcasters (MCO) with a request to revitalise the live concerts in the legendary Studio II in the MCO building.

So inspired by Harry’s idea we decided that the theme for the concerts should beMy most influential album’’. We asked some of our favorite artist to reinterpret one of the albums that was influential in their becoming musicians.

Trumpeter Ruud Breuls chose an old LP of Louis Armstrong’s greatest hits, Carmen Gomes, with Harry’s help, decided on her father's old favorite “Harry Belafonte Sings the Blues’’, Paul Berner went for the Beatles “Rubber Soul” and Tony Overwater chose Jim Hall & Ron Carter,  which he will record together with guitarist extraordinaire Maarten van der Grinten.

As of this writing the first two concerts have taken place. We can report that DXD sounds absolutely fantastic. Ruud Breuls who is, due to his many years with the Metropole Orchestra and the Westdeutsche Rundfunk Big Band, perhaps Europe’s most recorded trumpet player, was absolutely stunned when he heard the DXD playback of ”When it’s Sleepy time Down South”. He used words as “real”, and “ it sounds like me” when trying to describe the sound.

The direct to tape recording of Carmen Gomes surpassed all our expectations, the combination of Carmen Gomes’ voice and the Studer 2 track tape machine was a match made in heaven. Carmen who is a big fan of the sound of the classic ‘50 recordings was deeply moved by the result; “It’s the real deal’’ was her comment.

1th generation copies of the ¼ inch master tape will be available via www.analog-mastertapes.com in the near future.


Subjectively analogue tape and Dxd feels related in sound quality, they both sound so very natural. But technically there is of course a great difference;

DXD; being purely digital with all the benefits of being able to edit the sound, correct mistakes and so forth in post production; while with the Direct to ¼” Tape; the recording is following a pure analog signal path with no possibility of editing, no correction, the result being what it is, but surely containing a certain ‘’Mojo’’.

We will make the first edition of the series available as soon as possible. (JANUARY)

Frans & Peter


"The leap forward represented by the introduction of the audio CD cannot be over-emphasised. For those of us who were dissatisfied by the limitations and compromised audio of vinyl and tape, the arrival of a theoretically 'perfect' audio medium was a dream come true. Many spoke of hearing new detail in the music they knew so well; I well recall the first time I heard Genesis' The Lamb Lies Down On Broadway from CD. The amount of detail I could finally hear without the turntable rumble, dust snaps, static crackles, scratches and tape hiss was breath-taking ­— and I could finally play 'Back In New York City' at a decent volume without the needle jumping out of the groove! This truly was a new age of audio as it was meant to be heard. Surely this was something to build upon. I began to imagine (rightly or wrongly) the possible joys of longer word-lengths and higher sample rates. The future held promises of astounding audio playback systems, jet packs, hover cars and holidays to Mars. And then along came lossy data compression." (quote from Sound on Sound November 2013, read full article http://www.soundonsound.com/sos/nov13/articles/sounding-off-1113.htm)


How can I be sure I'm getting an "ORIGINAL" master recording when downloading music from any of the many Hi-Rez web sites?? I read Robert's article but don't know how to make sure I'm getting the original master.



Why 24bit/96kHz and not 24bit/192khz? or 24bit/88kHz or.....?

In the world or High End recording we generally agree that this is the best sounding and for sure the most practical recording format for recording high end audio.
Frans and I have experimented with different formats and found that when using 24bit/96kHz we would easier get the sound we were looking for.