The first catalogue released on Online-Disc

Cabrera plays Debussy

Chopin Polish Songs

Albéniz Iberia

Debussy Préludes. Book 1

Songs of Paolo Tosti

Conversations

"A documentary approach. An approach after my own heart felt opinions regarding proper recording technique. So much time has been spent talking about the Absolute sound of real music in real space as a reference. The problem is without recordings like PlayClassics has made available you have no chance of accurate appraisals of your playback accuracy. Someone pointed out there is little energy above 15 khz. Yet from an audience perspective without close miking on these instruments that is usually the reality. I have read of people speaking of natural sounding unforced detail in good playback. Here you have the real thing, no need for uptitled response or close miking, plenty of detail and naturally unforced."

esldude (computeraudiophile.com)

"Your "controlled recording environment" is working very well. You are taking very clear sonic photographs. Startling real recordings."

Doak (computeraudiophile.com)

"A documentary approach. An approach after my own heart felt opinions regarding proper recording technique. So much time has been spent talking about the Absolute sound of real music in real space as a reference. The problem is without recordings like PlayClassics has made available you have no chance of accurate appraisals of your playback accuracy. Someone pointed out there is little energy above 15 khz. Yet from an audience perspective without close miking on these instruments that is usually the reality. I have read of people speaking of natural sounding unforced detail in good playback. Here you have the real thing, no need for uptitled response or close miking, plenty of detail and naturally unforced."

esldude (computeraudiophile.com)

"Your "controlled recording environment" is working very well. You are taking very clear sonic photographs. Startling real recordings."

Doak (computeraudiophile.com)

"These are without a doubt the best piano recordings I've ever heard, and I have quite a collection as piano is, by far, my favorite solo instrument. Your perspectives are perfect, the piano stays "put" right in center stage, yet the "gestalt" of the piano fills the room from wall to wall. This is how a piano sounds playing in a real room, and when I listen to these recordings, I am always impressed by this realistic imaging. Also I am much gratified by the fact that you used a much lower than usual record level, thus taking full advantage of the dynamic range afforded by 24-bits. It might result in a slightly lower than average playback level, but the fact that you were able to capture the piano's full range without gain-riding or compression merely adds to the realism and to this fellow recordist, that is very gratifying!"

gmgraves (computeraudiophile.com)

"Puedo dar fe de que PlayClasic mediante su tecnología de Grabación Veraz (calibración v2.0) ha logrado un sonido sorprendentemente diáfano. Es como si el que lo escucha estuviese presente en el set de grabación o en una sala de conciertos. Me imagino el alto número de ensayos realizados por los ingenieros y técnicos para lograr esa calibración. De todo corazón los felicito."

Almiqui (audioplanet.com)

"Another thing I like very much about this whole series of recordings on the PlayClassics label is that these performances (from musicians whom I never heard of previously) are so highly accomplished. I've believed for a long time that many musicians the world over are capable of attaining of incredibly high levels of performance - and it's by no means just the highly marketed names who attain these levels. The musicians on this PlayClassics series are, for me, virtual proof of that belief - and this Iberia set by Luis Grane is a specific instance of that proof!"

Chris from Lafayette (audioasylum.com)

"Amazing sound, talented performers; what not to love? I also am intrigued by the approach toward recording the hall and not the performer. I like how this establishes a baseline of familiarity. Similar to how I enjoy listening to Chicago Symphony Orchestra recordings made in their space, because I am so familiar with its sound that I can recognize it and critique a recording by how well it reproduces that space's sound that I know so well. I can see myself learning the sound of this recording space with a similar familiarity."

jiminlogansquare (computeraudiophile.com)

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