Norwegian orchestra gets full HD audio treatment

NEWS: 30 May 2008 12:20 GMT by Amy-Mae Elliott

Although we've seen concert videos launched on the format, the first standalone Blu-ray music recording has only just been released.



The very first Blu-ray music disc to hit the shelves is from Thondheimsolistene, an orchestra from Norway.

"Divertimenti" will be released by the 2L label offering full fat HD audio, a feat enabled by the amount of data a Blu-ray disc can store.

Formats include 2.0 LPCM, 5.1 LPCM, 5.1 DTS HD Master Audio, 5.1 Dolby True HD and 5.1 Dolby Digital at 48KHz.

It will be interesting to see how many other labels follow suit - high-def audio formats have never really broken through to the mainstream with rival formats DVD-Audio and SACD in the realms of audiophile-only markets.

The new disc costs 189 Norwegian krone, which is about £19.

Multi-channels aside, I assume LPCM in Blu-Ray is > LPCM in CDs?

Assuming the LPCM is 24-bit, then technically, yes. CD is 16-bit, 44.1Khz.

I believe most Blu-Ray PCM tracks on movies have either been 16-bit, 48Khz or 24-bit, 48Khz.

I am no expert in the advantages of playing back at 24-bit vs. 16-bit.

I do know in terms of recording, 24-bit affords you more headroom for more natural sound in acoustic instruments, vocals and such.

Great idea. I loved DVD-Audio and was sad that it died. I still have a stack of DVD-A right now that I still listen to.

I never bought any SACDs but I assumed it was just as good as DVD-A but didn't catch on either.

Kids love their shitty MP3s these days.

The first music-only Blu-ray was Ghosts I-IV by Nine Inch Nails, but it was only available in the special edition and limited edition releases of the album, not as a standalone disc.

It should have been Blue Man Group

and

As far as orchestral recordings go I am fairly certain 24-bit playback allows for higher overtone clarity. It also becomes fairly obvious when a certain recording runs at 24-bit vs. 16-bit if you are a professional musician who keeps track on how certain orchestras set their pitch - from 338Hz for a concert A (Europe) to 440-442Hz for a concert A (North America). Acoustical distortion on a 24-bit recording is also far less of an issue than it is on a 16-bit recoding.

Chamber music recordings for example are best done as 24-bit takes.

Pro-B