Jenn wrote:
In article ,
"RobertLang" wrote:

I own some Opus 3 SACDs. They are absolutely among the *very* best
recordings available that I have heard. I particularly enjoy the
multi-channel "Concertos for Double Bass and Orchestra". This was
originally recorded in Quad in 1985. The SACD multi-channel is a 4.0 mix
of demonstration quality.

Robert C. Lang

I'm afraid that I have no experience with their SACDs, but I can testify
that their LPs are among the very best I've ever heard. The
instrumental timbres are just right on.

Here is a link to the Opus 3 website where they discuss their
philosophy on recording. Quit interesting. Bound to stir the pot.

http://www.opus3records.com/phil.html
some of the more interesting and contraversial things said are...

For those that believe competent electronics don't make an audible
diference...

"The quantity of electronics used in a recording is also highly
important. In the type of mixer consoles commonly used in a studio
nowadays, the acoustic signal passes through a very large number of
amplifier stages - between thirty and forty or more is not unusual! The
Opus 3 electronics, which are mainly tube-equipped and which we have
partly developed ourselves, seldom include more than three of four
amplifier stages between microphone and storage medium."

For those that believe all modern LPs are going through A/D?D/A
conversions at the cutting lathe....

"We would also like to draw attention to the following:
A cutting lathe requires two signals, one feeding the cutter head and
the other which gives information in advance to enable the grooves to
be packed in the best possible way without impinging on adjacent
grooves.
For this purpose a special tape recorder is required with one "preview"
head for the spacing of the grooves and one audio head which feeds the
cutter.

Between the heads the tape makes a special loop which provides the
required delay. Because these very special tape recorders are becoming
increasingly rare, many cutting studios have resorted to incorporating
a digital delay in the signal path in order to use an ordinary tape
recorder. This means that the audio signal in the record-groove has
first been A / D converted, i.e. digitalized, then digitally delayed
then D/A converted back to analogue. Such a vinyl record is therefore
not truly analogue. Needless to say all Opus3 LP's, are of course
mastered in the old authentic way and are thus analogue all the way."

For those that believe the "encoded signal" is the best reference
rather than the "sound of live music".....

"The word HiFi can be interpreted in many different ways. We at Opus 3
Records have always considered it to be the natural sound of reality,
with good Depth of Image, Timbre and Dynamics - or as the world
renowned HiFi manufacturer Quad put it:

'The closest approach to the original sound'. "

The proof is in the pudding so to speak. Their products speak for
themselves and their philosophies on audio. Time and time again I find
the folks making the very best recordings, masterings, and playback
equipment tend to be very much at odds with the beliefs of
objectivists. Does this 'prove" anything? Not "scientifically." But,
amoung many other things, it has fueled the fire that leads me to
believe the objectivist approach to audio is inferior for me.