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MRC Matók 01


MRC Matók 02


He confidently managed the technical crew and equipment from the planning stage of the recording. We recorded the main points of reference based on the musical ideas, time and technical equipment available::


  • The recording is completed “live”. We call it Live-To-Tape™ and Live-To-Disk™ process. All the musicians were playing simultaneously, in a shared space, to see and hear each other live. They can react to each other in real-time by this method. It is essential in this improvisational musical style.
  • Sound processing and effects are kept to a minimum.
  • We record what is happening in the studio with carefully chosen microphones.
  • We use various recording technologies, producing 192kHz/24bit PCM material in ProTools, stereo DXD/DSD material with Merging Audio’s Anubis and analogue tape stereo recording. The three versions will be targeted at different audiences, formats and produced differently.
  • As we stick to the original sound, there will be no mastering and post-production on the DXD and analogue tape recording. However, the 192k/24-bit PCM multi-track recording will be produced with usual post-production and mastering to fulfil commercial expectations and provide an Atmos version.


The high-resolution PCM recording was done on the AVID ProTools system installed in the Digital Pro studio. Each microphone signal is on a separate channel, allowing for post- production sound mixing required by the future CD, Atmos release and streaming service provider’s requirements.

FAP 8142

Zoltán Kovács’s double bass was a 2006 model by Géza Fábián, with two Neumann TLM103 microphones placed in front of it, close to the strings and under the bridge. In front of the saxophones was a Warm Audio 67 Tube Condenser (Neumann U67 clone) microphone, and Julia Karosi sang into a Warm Audio 47 Tube Condenser (Neumann U47 clone) microphone with great passion and excitement.
 FAP_8063.pngSax mikrofon
For drums, AKG D25 (kick), AKG C251 (snare), WA-84 (hi-hats), AKG C414 (toms) and AKG C12A (overhead) mics worked around György Jeszenszky’s custom-made and great sounding DDrum rig:
Dob mikrofonok
Digital Pro stúdió vezérlő
Not much space left in the control room, but just enough for the producer and my friend Ferenc Koscsó, the MRC project’s innovator and organiser. The analogue mixing console and preamps on the right with the tape recorder, the ProTools system control surface in the middle, and the DXD/DSD recorder on the left. The latter is a supercharged Luxor PC with linear power supply (optimized for Merging’s Pyramix), Pink Faun’s OCXO clocks for the motherboard, passive cooling and custom cabling, running Merging Pyramix software in DXD/DSD mode. As being usual in case of MRC recordings, the A to D conversion was the highest resolution available with today’s technology.
Merging Anubis
The Merging Anubis interface was driven from a high-quality linear power supply, connected in stereo 2 channels, with Evidence Lyric cables to the mixing console’s output. The analogue tape recording was made with a Nagra IV-S NQS-LSP reel to reel recorder, SM468 tape at 38 cm/s, with CCIR equalisation, under the supervision of Tamás Perczel. We used Yamaha NS- 10 near-field and Dynaudio midfield monitors for monitoring in the studio. We all brought our own headphones, including a high-end Focal. A well-known headphone can help us immensely to control and fine-tune the recording.
Nagra IV-S
MRC2201 Saturn SPL log
DSD utómunka
 The final product is very different from the usual sound of commercial music releases, mainly in the dynamic range. Because only minimal dynamic compression was applied, the recording preserves the difference in volume between the quieter and the more powerful musical events to almost 60 dB. (This is typically 15–30 dB for commercial material). Playback of this album may be problematic for some home systems. To get the quietest details to sound, they need to exceed the background noise level in terms of SPL, typically 35–45 dB SPL in a home environment. So, the peaks are around 100 dB, which weaker HiFi chains cannot reproduce enjoyably without aggressive distortion. But then again, hi-fi fans have long cherished the dream of high dynamic range recording, so there you go! Another feature of the recording is that the timbre may seem duller at first listen than on most releases without mastering. I suggest to give your ears time because the human ear can correct such “problems” in a few minutes! The frequency range is quite wide, and the graph below shows that there is still plenty of musical content above 20 kHz:
MRC2201 Spectrum
A 2-minute sample is now available in 44kHz/24bit352kHz/24bit and DSD128 formats.
Juhász Gábor Trio

Kovács Zoltán - double bass

Juhász Gábor - guitars

Karosi Julia - vocal

Tony Lakatos - saxophone

Jeszenszky György - drums



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