HUNNIA RECORDS & FILM PRODUCTION

WHERE THE MUSIC PLAYS


FROM STUDIO RECORDING TO THE HOME REPRODUCTION

In our studio – named SuperSize Recording – there is an Ampex ATR-124 "The King of All Tape Machines." for pure analog recordings. Mixing on SSL 4024G console and mastering paralel to Studer A80 and Merging Hapis (at DSD256 resolution). The most important thing for me is the feeling of joy caused by the sounding. Sometimes, the music being played becomes secondary. This can be some kind of ancient feeling because there is so many types of music the value of which are not given by its beauty or its intellectual content but their acoustic effects. These music have an effect like a good food, a fine wine or the feeling of sunshine on my skin. You can notice that our albums are very diverse. I am not a planner type. What grabs me, what I fall in love with, becomes a recording. It is painfully beautiful in music that it exists in the moment; what has been heard cannot be heard again in the same way. This is why it is important to record music and theater productions because they are volatile treasures, not like books or movies.
Róbert Zoltán Hunka
Producer

AUDIO RECORDING
24 channel analog – Ampex ATR
60 channel 192/24 – ProTools
42 channel DSD256 – Merging Hapis and Anubis Pyramix
4 separated rooms with AMEK Media 51 Recording Console and Rupert Neve EQ and Preamps
Steinway D model Concert Piano
, Rhodes
Vintage guitars and amps
Sonor: Signature - Lite - Phonic, Ludwig, Yamaha Recording Custom drums
Paiste, Turkish cymbals

PUBLISHING
CD – LP – BLURAY – DVD – PURE DSD256 AUDIO FILES

HIGH–END AUDIO DISTRIBUTION
Dynaudio, Living Voice, Peak Loudspeakers, Plinius, Alluxity, Sugden, Lavardin, NuPrime, Helius Design, Triode Lab, Atacama Audio, Black Rhodium Cables

DOWNLOAD DSD AUDIO FILES:
https://www.nativedsd.com/label/hunnia-records/

DSD AUDIO
Audio recording and reproduction have many individual and collective aspects which bring enjoyment. One of those is the quest to as closely as possible, accurately reproduce the analog signals produced by the recording microphones. A primary element affecting this is the Analog to Digital converter, its output format, and any post processing digital manipulation.

Analog to digital based recording has been the primary modality of deliverable music since the early 1980's. It's based on a sequential direct measurement of analog signal level sampling technique. Like individual frames of movie film, when played back produces continuous sound and motion. In the late 90's the resolution limit problem of direct analog signal sampling was solved by inserting an intermediate analog like A/D modulation technique called Pulse Density Modulation (PDM). This was performed via Sigma-Delta modulation, and produced bitstreams that were then converted to PCM . The same PDM modulation technique was also used as the format basis for SACD, and was named Direct Stream Digital (DSD.)

DSD is the 1-bit variant of multibit Pulse Density Modulation (PDM). It's a technique of modulating a square wave (bit clock) with an analog signal, resulting in a continuous bitstream whose bit density/population of up levels (1's) and down levels (0's) are proportional to the modulating analog signal level. Alternating 1's and 0's represent a zero signal level, and zero percent of modulation.

The limitation however, is that there are no digital values represented that are usable by a computer, as there are in PCM samples. So, PCM conversion is required presently for functions beyond editing with conventional Digital Audio Workstations (DAW) used in post production editing and post process sweetening,
Again, the importance of PDM/DSD is that it's the output of the Sigma-Delta modulator, which is the analog to digital conversion step found in all currently available A/D converters. Subsequent conversion to digital value sample based PCM is a decimation filter and interpolation process that is lossy. For the most transparent reproduction of the microphone analog signals, pure DSD recordings without PCM conversions for post production processing, represents the best available technique available today. It is analogous to the direct to disk recording technique of years past.

Tom Caulfield
Recording and mastering engineer
Grammy Award

DOWNLOADS

Booklets
https://www.dropbox.com/s/ht6ps5gwhpvq2gc/Hunnia%20Records%20Collection.pdf?dl=0


Hunnia Records Collection.pdf
https://www.dropbox.com/sh/fm0idr38fh804u4/AACq_KRgSWKEUo-7G8cskBC4a?dl=0