ASTRIGNEME - 225 - Hi-Res-Audio - POP

Data sheet

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1. Moshe Salyo de Misraym / ‘Rev Rav Trad. G. Della Volpe 7’03”
2. Catene G. Della Volpe - S. Facchielli - P.P. Polcari 4’37”
3. Astrigneme G. Della Volpe - P.P. Polcari 4’01”
4. Misteriosamente V. Gragnaniello 3’31”
5. Cammina Cammina P. Daniele 2’18”
6. Respiro G. Della Volpe - S. Facchielli - P.P. Polcari 3’44”
7. Nun te scurda’ G. Della Volpe - S. Facchielli - P.P. Polcari 5’05”
8. Indifferentemente S. Mazzocco - U. Martucci 3’13”
9. Era de maggio J. Carreras - M.P. Costa 3’43”
10. Carmela S. Bruni - S. Palomba 4’35”
11. Fa ammore cu’mme S.Facchielli - G. Tesone 5’30”
12. Jerusalem Koné Seydou 4’45”
13. Chiquilin de Bachin H. Ferrer - A. Piazzolla 3’06”

Total Time 55’15”

Conceived, recorded and produced by Giulio Cesare Ricci
Recorded at the Auditorium Museo Piaggio Pontedera July 17th, 2021
Recording assistant: Paola Liberato
Valve microphones: Neumann U47, U48, M49
Mike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci
Recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters
Photos by Andrea Manno & Paola Liberato

The Mastering for SuperAudioCD was made by Giulio Cesare Ricci using Signoricci’s analog and valve system.

This album is part of the recordings I made for the concerts of the Piaggio fonè Music Festival 2021 edition. I made this recording at the Piaggio Auditorium located inside the famous Pontedera Museum, the place where Piaggio was born and where it still continues to produce today. Inside the Museum every year the public from all over the world can admire the Piaggio production made over the years, all the Vespa and Ape models, all the Aprilia, Gilera and Moto Guzzi motorcycles that have won national and international awards over time. For this recording I brought all my equipment both analog (Ampex ATR 102 Electronic Tube Ampex Model 351-1965, 2 tracks, 1/2 inch, 30ips modified by David Manley) and digital (Pyramix Recorder, dCS A / D and D / A converters).

As for the microphones I used my original collection of Neumann U47, U48, M49 in addition to the microphone preamp and Signoricci cables. We use pairs of Neumann tube microphones from the years 1947 and 1949 (U47, U48 and M49) with a very natural tone using field effect bi-microphone techniques. These microphones have an important history: they are in fact the original microphones used to record, among others, the Beatles performances in the Abbey Road Studio and by RCA for the “Living Stereo” recordings. The sound I can capture with these legendary microphones is perfectly in line with my sonic taste.

No other microphone has such a true timbre and the ability to record all the nuances of sound and all the richness of the harmonics. The uniqueness of these microphones is linked to their ability to make a perfect "sound photograph" and to put the music perfectly placed in the sound space chosen for the recording. This is because for each recording I have always made two Masters: an analog master for vinyls and a DSD digital master for SuperAudioCDs. For the SACD I used the DSD format, on Pyramix using the dCS A / D and D / A DSD converters.

From 1998 to today I record in DSD 64 x 44.1 bit with Signoricci ex Philips workstations that mount Pyramix programs, 904 analog / digital dCS converters and 954 digital / analog dCS converters, all this to make the best SACD fonè. The SACD mastering was done by me using the full analog and tube Signoricci system. A "state of the art" system without sound manipulation, equalization, reverb, compression and expansion ... but natural sound and true timbre to best enhance the acoustics of the Auditorium of the Piaggio Museum. fonè has been offering for almost 40 years recordings made in the name of technological refinement and aimed at recovering the original musical atmospheres.

Also for this recording I used a "field effect" recording technique ... all this to make the listener relive the live effect in his home hifi system as if he had been present at the performance. In a completely acoustic version, accompanied by his historical travel companions the Radicanto, the Neapolitan singer crosses the whole Mediterranean in a recital of author songs, demonstrating that, in music as in culture, there are precious bridges between the various peoples that overlook the sea Nostrum which are a heritage to be preserved. The group offers imaginary Mediterranean and mestizo music, born from the meeting of Raiz (historical voice of Almamegretta) with Radicanto consolidated over the years with the realization of tours and record works, finalists of the Tenco Award and in the Top Ten of the World Music Chart of Europe..

Powerful and refined at the same time, the sound universe of the Neapolitan singer-songwriter's voice intertwines with the cadenced rhythms, the echoes of the strings, the skins and the papyri, of the Radicanto to slip like rivulets of a story that seems to never end. Sephardi cantigas, psalms, Neapolitan songs, tango, North African and Middle Eastern rhythms: languages that chase each other, the Mediterranean as a pan-regional reality, without borders. Among the songs played we find Astrigneme (G. Della Volpe, P.P. Polcari) who gives the title to the album, Cammina Cammina (P. Daniele) Era de maggio (J.Carreras, M.P.Costa) Jerusalem (Koné Seydou) 

An album not to be missed!

giulio cesare ricci

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