On Friday January 25th, 2019 we welcome the label 2L to the NativeDSD Music Store by releasing their recent album ‘Lux’ in DSD 64, DSD 128, DSD 256 and DXD, each rate is available in both Stereo as well as Multichannel!
“NativeDSD is proud to bring this fine catalog of almost 100 Classical, Jazz, Vocal, Soundtrack, Instrumental and World Music recordings to our listeners in Stereo and Multichannel DSD and DXD. This includes offering the Stereo DSD 256 (an exclusive outside of Japan) and Multichannel DSD and DXD editions of these albums (a NativeDSD exclusive worldwide). Over the next months we will be adding the 2L catalog to the NativeDSD Music Store. We hope your ears will enjoy (re)discovering the 2L recordings!”
— Jared Sacks, co-founder NativeDSD
-> go straight to the album page of the first 2L release at NativeDSD:
LUX by Nidarosdomens jentekor & TrondheimSolistene
Founded in 2001, the music captured by 2L (Lindberg Lyn) and their famed producer and recording engineer Morton Lindberg features Norwegian composers and performers and an international repertoire reflected in the Nordic atmosphere. The 2L catalog includes almost 100 albums in musical genres including Classical, Jazz, Vocal, Soundtrack, Instrumental and World Music.
Since 2006, DSD and DXD albums from 2L have received a total of 34 Grammy Award nominations, 26 of these in the categories of Best Engineered Album, Best Surround Sound Album, Best Immersive Audio Album and Producer of the Year.
The surround sound recordings of 2L not only transform the entire listening experience, but also – more radically – these innovative recordings overturn some very basic concepts regarding how music is played and even composed. 2L emphasizes not just Stereo DSD and DXD releases but also Surround Sound DSD and DXD editions of all their albums. Several of these DSD and DXD surround sound recordings have received Grammy Award Nominations as Best Surround Sound production of the year. And soon you will be able to download them directly from Native DSD.
2L record in spacious acoustic venues: large concert halls, churches and cathedrals. This is where they can make the most intimate recordings. The qualities they seek in large rooms are not necessarily just a big reverb, but often an openness due to the absence of close reflecting walls.
Making an ambient and beautiful recording is the way of least resistance. Searching the fine edge between direct contact and openness – that’s the real challenge! A really good recording should be able to bodily move the listener. This core quality of audio production is made by choosing the right venue for the repertoire, and by balancing the image in the placement of microphones and musicians relative to each other in that venue.
There is no method available today to reproduce the exact perception of attending a live performance. That leaves them with the art of illusion when it comes to recording music. Recording engineers and producers need to do exactly the same as any good musician: interpret the music and the composer’s intentions and adapt to the media where the performance is delivered.
Recorded music is no longer a matter of a fixed one- or two-dimensional setting, but rather a three-dimensional enveloping situation. Surround sound audio is a sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions.
Let the journey begin.