Recording philosophy :
We believe it is illusory to pretend to create a sonic fidelity of the live concert experience. It is irreplaceable. However, we are convinced that the talent of the audio engineer, combined together with a skilful use of state-of-the-art sound equipment, are essential to recreating the sensitivities which are characteristic of the great recordings. With this logic in mind, our motto is: «The technique must serve the music ».

Recording conception :
For our stereo recordings, we lean towards a pair of omni-directional microphones, carefully positioned on the "right place". If we find that working with only one stereo pair of microphones is not sufficient, a multi-microphone approach would give us the possibility to find the balance we need. For all 5.0 recording formats, we use our own system with five omni-directional microphones.

In order to avoid degradation in the audio signal - caused by long microphone cables - we install and position our microphone amplifiers and A/D converters very close to the musicians. Afterwards, the audio signal is transferred digitally by optical or AES/EBU cable to our Pyramix Virtual Studio 6 Digital Audio Workstation, situated in the monitoring room.

For all stereo sources, we listen simultaneously on a pair of loudspeakers and headphones. For 5.0 surround format, we use five speakers and stereo headphones.

Collaboration :
On our piano recordings, we have been collaborating for many years with the excellent and very talented French master Joël Jobé. His careful tuning and expert balancing of the instruments used are an essential starting point for a credible result and successful recording. Furthermore, he is present during all sessions.

Studio :
In Switzerland, we particularly appreciate the sonic qualities of the Studio de la Fondation Tibor Varga in Grimisuat/ Sion as well as those of the Salle de Musique de La Chaux-de-Fonds.

Technique :
Our sessions are recorded in High Definition format on 24 bit at 96 kHz. This offers 256 times higher resolution compared to the CD standard, which is 16 bit at 44,1 kHz. The transition from 16 to 24 bits corresponds to the improvement from 65 635 to 16 802 815 samples per second, which gives much better results with regards dynamic, precision and transparency of the audio signal. The frequency of 96 KHz doubles the band pass, in such a way that we have 50% more transients.

For clearer understanding, here is the list of the existing digital formats and supports for audio data: - 16 bit/44,1KHz: CD (Compact Disc) Audio. - 24 bit/96KHz and 24bit /192KHz: for DVD (Digital Versatile Disc) Audio. - DSD (Direct Stream Digital): for SACD (Super Audio Compact Disc). This format functions at 1 bit on 2.8224 MHz or 5.6448 MHz, which corresponds to 64 x and 128 x times the standard CD frequency sampling rate.

Frequency sampling rate	CD > 44.1 KHz	HD > 96 KHz	DSD > 2822.4 KHz
Word length	16 Bits	24 Bits	1 Bit
Band pass	10-20.000 Hz	10-44.000 Hz	10-100.000 Hz
Distortion	negligible	negligible	negligible
Dynamic	96 dB	144 dB	120 dB

Contrary to the widely-held belief, the use of High Definition format is not sufficient by itself for a good recording. In fact, beyond the quality of the microphone and its amplifier, the first critical step in the digital domain is the A/D (Analog to Digital) converter, of which quality is essential in seeking an exceptional recording.

We can compare the High Definition format to a large piano with 7,5 octaves and the CD format to a small piano with 5 octaves. It is clear that the 7,5 octaves has superior dynamic potential, amplitude and texture compared to the 5 octaves. However, the small piano can perhaps deliver a particular quality of touch and musicality, which may offer more expression than the larger concert stage instrument. As such, much depends on the instrument's conception, namely the quality of the materials used and the mastery of the piano maker.

We believe that the same applies to audio recordings. The Digital format establishes the technical potential of the recording and the equipment makes the quality. Working with those tools, the engineer sculpts the sound, while making decisions about the balance, the space, the relief and the ambience of each recording.

In summary, the quality of the recording material and the mastery of the engineer both play an essential role in determining the final result, that is, a quality recording. At this stage the technical aspect becomes an art.

Microphones :
AKG C12 tube - AKG C 414 XLS - BLUE Bottle tube - Brauner VM1 tube - Brauner Phantom AE - DPA 4006 AE - DPA 4006 - DPA 4009/130V - GMS tube - FLEA M50 - FLEA 47 - FLEA 12 - Neumann M149/75 AE tube - Neumann M150 tube - Neumann TLM 193 - Rode K2 tube - Sanken CU 44 X - SE Z3300 A - Schoeps Ug 222 tube with MK 2H/4 capsules and others.

Microphone amplifiers :
Anthony De Maria ADL 600 tube - GMS 8/2 pure class A - GMS 2/2 pure class A tube – Millenia HV3D/8, modified by GMS.

A/D converters :
dCS 904/GMS 24/96 - Genex GXA8 - 24/192 and DSD, modified by GMS - Mytek A/D/A 192/8 channels.

DAW (Digital Audio Workstation) :
Pyramix Virtual Studio 6 by Merging Technologies.

D/A converters :
dCS 954 24/96 - Genex GXD8 - 24/192 and DSD, modified by GMS - Benchmark DAC1 Mytek A/D/A 192/8 channels.

Monitors :
Enceintes - GMS/Perspective 1 - Kef Référence 207/2 - Kef Référence 201/2.

Headphones :
Sony The King - Stax SR 404 - Sennheiser HD 600 and 650.

Filters & Power supplies :
GMS Net - La Boîte Noire - MPC.

Digital cables :
Microphone, Cardas Pro 4 - Van den Hul MCD 403 - Hi-Fi Câble Sattis 2. Numérique, Apogée Wyde Eye - Mogami Pure Digital - Trans AES/EBU 2. Modulation, Cardas Golden Référence - Hi-Fi Câble Thot - Kimber KS 1030 - Nirvana SX - Secteur, Powertrans Plus - Eupen - MPC. Enceinte, Super Maxitrans - Wireworld Gold Eclipse III.

Cables & Microphone cables:
Cardas Pro 4 - Van den Hul MCD 403 - HI-Fi Câble Sattis 2.

All GMS products are hand-crafted, developed and modified by us.

English translation : Peter Morrison