Inter.view with Alessandro Simonetto of OnClassical.com - audiophile online label

by Lucio Cadeddu

[Italian version]

Alessandro Simonetto of OnClassical.com

LC >
1) Would you introduce your "online label" to our readers? When did you create it and why?

AS >
OnClassical is an attempt to bring classical music on internet through a versatile philosophy: a type of self-service without intermediaries or authors' societies, neither the costs of printing nor the burden of shipping (we only work on music not packaging), and even without DRM, royalty deadlines (in the case of those who buy or license music with us) and other hassles (and costs).
OnClassical is a sort of experiment that brings together classical music and high fidelity, which chooses top-level musicians, and gives them the opportunity to be registered for free. Furthermore, they are not asked exclusive right.

LC >
2) Other audiophile labels are offering "studio master" files for download on their websites (e.g. Linn Records). It seems your approach is different. May you explain why? For example, you claim 50% of profits go directly to artists and not to RIAA... how is this possible?

AS >
Albums at onclassical.com are now sold only in PCM/WAV, at CD standard quality (44.1 kHz * 16 bit) to avoid problems tied to eventual decompression of compressed files (as MP3, OGG, etc.) in the operations of burning-to-cd. This is because I have often remained disappointed after a file has been transferred to a burner: though the compressed files were excellent, the quality of the original sound got quite a bit worse when the compressed sound was decoded to make a final CD.
About profits, yes: we give 50% of all earnings to musicians and not to authors' societies (RIAA). The reason is very simple: we only threat music that is in public domain or whose composers are not inscribed to such societies. This is possible on the internet.

LC >
"Liquid music" is becoming more and more popular. For this reason the HiFi market is offering more components devoted to its fruition (USB DAC, ethernet servers, HiFi storage devices etc.). What do you think about the future of Music and its fruition?

AS >
I think computer and data transmission will become the only electronic appliance in a very near future, so possibly the music will be heard directly from the network in very high definition (without having to worry about saving it on disk). Maybe live concerts will differ slightly. For instance, I think pianists will play at home, not so much with their hands, arms, shoulders, but rather with minds only; and public will listen from their own dsl cable!

LC >
4) From a more technical point of view how do you create your recordings? Which kind of hardware/software you use? Do you use "Real Stereo" techniques (two mics, no overdubs)?

AS >
I really love Neumann mics (from KM 184 to KM 140 serie up to U 87) for their accuracy and honesty in capturing the original source. But not always I use Neumann mics: for the vocal music, i.e., I prefer to point on AKG C 414 or B&K DPA (we own a DPA 4009 match pair). Then I use Amek and computer (PC). I try to get the best result with just a few equipments that I very well know. Although the major part of our recording has been captured with only a "match pair", if I have to be honest, sometimes I find the only-two-mics recording a little limiting. To underline my feel note that a multitrack recording project often resolved some logistic questions with the instruments positions and the final result. In any case every mix is then the result of a very careful technical project and therefore any delay and the final-sound-image of the recording are decided after careful calculations.

LC >
5) The "loudness war" is affecting the majority of modern recordings. We believe that killing music dynamics equals to kill Music in itself. Dynamic compression might be useful for making recordings acceptable on MP3 players but it is definitely a no-no for serious home listening. Which is your point of view on this "hot" topic?

AS >
Compressing or expanding dynamics inevitably leads the sound to physical distortions.
I am convinced that a good recording is not synonimum of expensive equipments, but of a good mind yes. Frequently sound technicians are not real musicians and point "only" on stratospheric equipments and excellent aknowledges and perhaps they record in bunkers flattening so every dynamic otherwise possible (to note that a good musician always point out to largest dynamic range for his instrumental). I think there is no software that may give you the dynamics lost, as there is no trick that can give beauty to an ugly face. I instead believe that the end result must coincide with the initial technical project, and that project must be clear from the beginning. At that point any sound procession become unnecessary as well as damaging, as a good photo taken in the appropriate time and with the right frame does not need for further tampering.

LC >
6) Is there any hope to expand your activity to non-classical music as well?

AS >
I don't think so. But note that with the term "classical" we mean all that which designates a kind and forms a base. Therefore music, be it electronic, ethnic or experimental may be of our interest.

Courtesy Alessandro Simonetto for TNT-Audio.

For further infos on their studio master files don't miss our listening test here on TNT-Audio! (by N. Whetstone)

Copyright © 2009 Lucio Cadeddu - www.tnt-audio.com