{"title":"Stockfisch Records","description":"\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cstrong\u003eCLOSER TO THE MUSIC\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStockfisch Records is one of Germany’s most respected independent audiophile record labels, internationally recognised for exceptionally natural, spacious and highly detailed recordings.\u003c\/p\u003e\n\u003cp\u003eFounded by recording engineer Günter Pauler in Northeim, Germany, Stockfisch has developed a distinctive catalogue centred around singer-songwriters, acoustic music, folk, blues, jazz and guitar-oriented recordings.\u003c\/p\u003e\n\u003cp\u003eIts philosophy is expressed perfectly by the famous Stockfisch motto:\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e“Closer to the Music.”\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eRather than pursuing spectacular sound for its own sake, the Stockfisch approach places the musical performance first. Voices are reproduced with remarkable presence, acoustic instruments retain their natural timbre, bass is deep yet controlled, and the recording space is allowed to breathe.\u003c\/p\u003e\n\u003cp\u003eThe result is a characteristic Stockfisch sound: intimate, transparent, dimensional and exceptionally revealing on a high-quality Hi-Fi system.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTHE STOCKFISCH RECORDING PHILOSOPHY\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStockfisch has earned its audiophile reputation through meticulous recording, mastering and manufacturing rather than reliance on a single technology.\u003c\/p\u003e\n\u003cp\u003eDepending on the production, its engineering chain has incorporated carefully selected microphones, high-resolution digital recording systems, analogue equipment and purpose-built studio techniques.\u003c\/p\u003e\n\u003cp\u003eParticular attention is given to preserving:\u003c\/p\u003e\n\u003cp\u003e• natural vocal character\u003cbr\u003e• acoustic instrument texture\u003cbr\u003e• transient response\u003cbr\u003e• low-level musical information\u003cbr\u003e• realistic bass extension\u003cbr\u003e• spatial depth and ambience\u003cbr\u003e• precise stereo imaging\u003cbr\u003e• wide dynamic range\u003c\/p\u003e\n\u003cp\u003eThis makes many Stockfisch recordings particularly effective as reference material for evaluating loudspeakers, amplifiers, digital sources, turntables and complete high-end systems.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDIRECT METAL MASTERING\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStockfisch has maintained an important commitment to analogue vinyl production.\u003c\/p\u003e\n\u003cp\u003eFor selected LP releases, the company cuts Direct Metal Masters — DMM — using its own Neumann VMS82 cutting system. Instead of cutting the groove into a conventional lacquer master, the DMM process engraves the programme directly into a copper-coated master disc.\u003c\/p\u003e\n\u003cp\u003eStockfisch uses this technology to achieve extremely precise groove definition and excellent retrieval of fine musical information.\u003c\/p\u003e\n\u003cp\u003eIts vinyl catalogue includes standard audiophile LPs as well as special 45 RPM editions produced for listeners seeking the greatest possible analogue resolution.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDMM-DUBPLATES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAmong Stockfisch’s most unusual analogue products are its DMM-Dubplates.\u003c\/p\u003e\n\u003cp\u003eThese highly specialised discs take the Direct Metal Master concept considerably further: rather than using the copper master merely as an intermediate stage for conventional vinyl pressing, a specially prepared DMM disc can itself become the playback medium.\u003c\/p\u003e\n\u003cp\u003eThe concept eliminates several manufacturing stages between the cutting system and the listener and represents one of Stockfisch’s most uncompromising experiments in analogue reproduction.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eHYBRID SACD\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eStockfisch has also been an enthusiastic supporter of Hybrid Super Audio CD.\u003c\/p\u003e\n\u003cp\u003eMany releases combine:\u003c\/p\u003e\n\u003cp\u003eDSD high-resolution SACD Stereo\u003c\/p\u003e\n\u003cp\u003ewith\u003c\/p\u003e\n\u003cp\u003ea conventional 16-bit CD layer\u003c\/p\u003e\n\u003cp\u003eallowing the same disc to be played in an ordinary CD player while providing the higher-resolution SACD programme when used with compatible equipment.\u003c\/p\u003e\n\u003cp\u003eSome Stockfisch productions have additionally appeared with multichannel SACD mixes, XRCD editions, high-resolution formats and premium vinyl counterparts.\u003c\/p\u003e\n\u003cp\u003eESSENTIAL STOCKFISCH SAMPLERS\u003c\/p\u003e\n\u003cp\u003eCLOSER TO THE MUSIC - VOL. 1\u003c\/p\u003e\n\u003cp\u003eThe ideal introduction to the Stockfisch sound.\u003c\/p\u003e\n\u003cp\u003eThe first Closer to the Music sampler contains 17 tracks selected from different Stockfisch productions and features artists including:\u003c\/p\u003e\n\u003cp\u003eSara K.\u003cbr\u003eAllan Taylor\u003cbr\u003eDavid Munyon\u003cbr\u003eMike Silver\u003cbr\u003ePaul Stephenson\u003cbr\u003eDavid Roth\u003cbr\u003eChris Jones\u003c\/p\u003e\n\u003cp\u003eDespite originating from different albums, the recordings demonstrate the label’s remarkably consistent approach to musical naturalness, vocal presence and acoustic realism.\u003c\/p\u003e\n\u003cp\u003eThe official Stockfisch edition was released as a Hybrid SACD with DSD Stereo and CD layer.\u003c\/p\u003e\n\u003cp\u003eFor somebody discovering Stockfisch for the first time, this is one of the essential starting points.\u003c\/p\u003e\n\u003cp\u003eCLOSER TO THE MUSIC - VOL. 2\u003c\/p\u003e\n\u003cp\u003eThe second volume expands the catalogue with 15 tracks and approximately 70 minutes of music.\u003c\/p\u003e\n\u003cp\u003eArtists include:\u003c\/p\u003e\n\u003cp\u003eSara K.\u003cbr\u003eSteve Strauss\u003cbr\u003eEugene Ruffolo\u003cbr\u003eMike Silver\u003cbr\u003eDavid Munyon\u003c\/p\u003e\n\u003cp\u003eIt is particularly effective as an audiophile demonstration disc because the programme moves between male and female vocals, acoustic guitars, percussion and richly textured arrangements.\u003c\/p\u003e\n\u003cp\u003eCLOSER TO THE MUSIC - VOL. 3\u003c\/p\u003e\n\u003cp\u003eVolume 3 broadened the series further, combining established Stockfisch performers with newer discoveries.\u003c\/p\u003e\n\u003cp\u003eIts 18 tracks include music from:\u003c\/p\u003e\n\u003cp\u003eSara K.\u003cbr\u003eAllan Taylor\u003cbr\u003eEugene Ruffolo\u003cbr\u003eDavid Munyon\u003cbr\u003eDennis Kolen\u003cbr\u003ePaul O’Brien\u003cbr\u003eBeoga\u003cbr\u003eCarl Cleves \u0026amp; Parissa Bouas\u003cbr\u003eBeo Brockhausen\u003c\/p\u003e\n\u003cp\u003eThis is an excellent sampler for examining vocal realism, image placement and the recreation of acoustic space.\u003c\/p\u003e\n\u003cp\u003eSTOCKFISCH VINYL COLLECTION\u003c\/p\u003e\n\u003cp\u003eFor analogue enthusiasts, the Stockfisch Records Vinyl Collection series performs much the same role as Closer to the Music, but on audiophile vinyl.\u003c\/p\u003e\n\u003cp\u003eThe first edition brought together ten tracks from artists including:\u003c\/p\u003e\n\u003cp\u003eSara K.\u003cbr\u003eSteve Strauss\u003cbr\u003eChris Jones\u003cbr\u003eDavid Roth\u003cbr\u003eEugene Ruffolo\u003cbr\u003ePaul Stephenson\u003cbr\u003eLouis Capart\u003cbr\u003eMike Silver\u003cbr\u003eChristian Willisohn\u003cbr\u003eEwen Carruthers\u003c\/p\u003e\n\u003cp\u003eLater volumes continued the concept, with Stockfisch cutting selected editions using its studio Neumann VMS82 DMM lathe.\u003c\/p\u003e\n\u003cp\u003eESSENTIAL STOCKFISCH ALBUMS\u003c\/p\u003e\n\u003cp\u003eCHRIS JONES\u003c\/p\u003e\n\u003cp\u003eROADHOUSES \u0026amp; AUTOMOBILES\u003c\/p\u003e\n\u003cp\u003eOne of the defining Stockfisch recordings.\u003c\/p\u003e\n\u003cp\u003eChris Jones combines exceptional acoustic guitar playing, blues, Americana and singer-songwriter material with a recording notable for enormous presence and physical low-frequency energy.\u003c\/p\u003e\n\u003cp\u003eThe song “No Sanctuary Here” became especially well known within audiophile and professional sound circles as a system demonstration track.\u003c\/p\u003e\n\u003cp\u003eStockfisch itself describes the album as having developed into a de facto reference for listening tests and demonstration sessions.\u003c\/p\u003e\n\u003cp\u003eOriginally released on CD, Roadhouses \u0026amp; Automobiles was later given an audiophile analogue edition as a 180-gram double 12-inch LP at 45 RPM.\u003c\/p\u003e\n\u003cp\u003eListen for:\u003c\/p\u003e\n\u003cp\u003e“No Sanctuary Here”\u003cbr\u003e“Roadhouses \u0026amp; Automobiles”\u003cbr\u003e“Fender Bender”\u003cbr\u003e“God Moves on the Water”\u003c\/p\u003e\n\u003cp\u003eThis is perhaps the quintessential Stockfisch demonstration album.\u003c\/p\u003e\n\u003cp\u003eALLAN TAYLOR\u003c\/p\u003e\n\u003cp\u003eCOLOUR TO THE MOON\u003c\/p\u003e\n\u003cp\u003eOne of the albums most closely associated with the classic Stockfisch aesthetic.\u003c\/p\u003e\n\u003cp\u003eAllan Taylor’s unmistakably deep, textured voice is presented against intimate acoustic arrangements with extraordinary clarity.\u003c\/p\u003e\n\u003cp\u003eIt is the kind of recording that immediately reveals whether a system can reproduce a human voice naturally rather than merely impressively.\u003c\/p\u003e\n\u003cp\u003eExpect exceptional:\u003c\/p\u003e\n\u003cp\u003e• vocal body\u003cbr\u003e• acoustic-guitar detail\u003cbr\u003e• room ambience\u003cbr\u003e• image depth\u003cbr\u003e• low-level resolution\u003c\/p\u003e\n\u003cp\u003eALLAN TAYLOR\u003c\/p\u003e\n\u003cp\u003eHOTELS \u0026amp; DREAMERS\u003c\/p\u003e\n\u003cp\u003eFollowing Looking For You and Colour to the Moon, Hotels \u0026amp; Dreamers became another major Allan Taylor release for Stockfisch.\u003c\/p\u003e\n\u003cp\u003eIts eleven songs combine Taylor’s reflective songwriting with the restrained, spacious production style for which the label became known.\u003c\/p\u003e\n\u003cp\u003eThe album was also recognised by German folk publication Folker! among its notable releases of the period.\u003c\/p\u003e\n\u003cp\u003eSARA K.\u003c\/p\u003e\n\u003cp\u003eWATER FALLS\u003c\/p\u003e\n\u003cp\u003eSinger-songwriter Sara K. became one of the artists most closely identified with the Stockfisch sound.\u003c\/p\u003e\n\u003cp\u003eWater Falls combines her highly distinctive vocal style and four-string guitar with Chris Jones and an extensive supporting cast of acoustic and electric instruments.\u003c\/p\u003e\n\u003cp\u003eStockfisch subsequently issued the programme in several forms, including an elaborate 180-gram double-LP edition.\u003c\/p\u003e\n\u003cp\u003eParticularly revealing for:\u003c\/p\u003e\n\u003cp\u003e• female vocal transparency\u003cbr\u003e• string texture\u003cbr\u003e• acoustic-guitar transients\u003cbr\u003e• soundstage layering\u003cbr\u003e• bass articulation\u003c\/p\u003e\n\u003cp\u003eSARA K.\u003c\/p\u003e\n\u003cp\u003eHELL OR HIGH WATER\u003c\/p\u003e\n\u003cp\u003eAnother major Stockfisch audiophile recording.\u003c\/p\u003e\n\u003cp\u003eThe album contains ten previously unreleased songs and features Chris Jones on guitar and dobro.\u003c\/p\u003e\n\u003cp\u003eStockfisch released it as a Hybrid SACD with Stereo and 5.1 surround sound, and the recording was later transferred to JVC in Japan for an XRCD24 edition.\u003c\/p\u003e\n\u003cp\u003eThis makes Hell or High Water particularly interesting for collectors who enjoy comparing different premium digital mastering formats.\u003c\/p\u003e\n\u003cp\u003eSARA K. \u0026amp; CHRIS JONES\u003c\/p\u003e\n\u003cp\u003eLIVE IN CONCERT\u003c\/p\u003e\n\u003cp\u003eRecorded during the 2002 Nautilus Tour, this release strips the musical presentation down to its essentials:\u003c\/p\u003e\n\u003cp\u003eSara K. — vocals and four-string guitar\u003cbr\u003eChris Jones — guitar and dobro\u003c\/p\u003e\n\u003cp\u003eThere are no elaborate studio constructions to hide behind.\u003c\/p\u003e\n\u003cp\u003eWhat remains is voice, guitars, venue acoustics and musical interaction.\u003c\/p\u003e\n\u003cp\u003eThe result is a particularly convincing demonstration of transient realism and live spatial information.\u003c\/p\u003e\n\u003cp\u003eStockfisch later issued the concert on double vinyl for analogue enthusiasts.\u003c\/p\u003e\n\u003cp\u003eWHY AUDIOPHILES VALUE STOCKFISCH\u003c\/p\u003e\n\u003cp\u003eStockfisch recordings rarely depend upon artificial spectacle.\u003c\/p\u003e\n\u003cp\u003eTheir strength comes from something more difficult to achieve:\u003c\/p\u003e\n\u003cp\u003ebelievability.\u003c\/p\u003e\n\u003cp\u003eA good Stockfisch recording can make a vocalist appear almost physically present between the loudspeakers.\u003c\/p\u003e\n\u003cp\u003eGuitars possess wood, string and body rather than merely treble detail.\u003c\/p\u003e\n\u003cp\u003eDouble bass has weight without becoming bloated.\u003c\/p\u003e\n\u003cp\u003eSmall reverberations reveal the dimensions of the recording environment.\u003c\/p\u003e\n\u003cp\u003eAnd silence between notes becomes part of the musical presentation.\u003c\/p\u003e\n\u003cp\u003eFor this reason Stockfisch recordings are frequently encountered at Hi-Fi demonstrations, audio exhibitions and private listening sessions.\u003c\/p\u003e\n\u003cp\u003eThey are not simply recordings made to sound “audiophile.”\u003c\/p\u003e\n\u003cp\u003eAt their best, they demonstrate the philosophy behind the label’s name:\u003c\/p\u003e\n\u003cp\u003eCLOSER TO THE MUSIC.\u003c\/p\u003e\n\u003cp\u003eRecommended Starting Collection\u003c\/p\u003e\n\u003cp\u003eFor anyone beginning a Stockfisch collection, an excellent foundation would be:\u003c\/p\u003e\n\u003cp\u003eStockfisch Records — Closer to the Music Vol. 1\u003cbr\u003eStockfisch Records — Closer to the Music Vol. 2\u003cbr\u003eStockfisch Records — Closer to the Music Vol. 3\u003cbr\u003eChris Jones — Roadhouses \u0026amp; Automobiles\u003cbr\u003eAllan Taylor — Colour to the Moon\u003cbr\u003eAllan Taylor — Hotels \u0026amp; Dreamers\u003cbr\u003eSara K. — Water Falls\u003cbr\u003eSara K. — Hell or High Water\u003cbr\u003eSara K. \u0026amp; Chris Jones — Live in Concert\u003cbr\u003eStockfisch Records — Vinyl Collection\u003c\/p\u003e\n\u003cp\u003eTogether, they provide an outstanding introduction to the distinctive recording aesthetic that has made Stockfisch Records one of the best-known names in contemporary audiophile music production.\u003c\/p\u003e","products":[],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0732\/6856\/0166\/collections\/Stockfisch_Records_logo_metalic.png?v=1790851106","url":"https:\/\/www.thesoundoftape.com\/uk\/collections\/stockfisch-records.oembed","provider":"The Sound of Tape","version":"1.0","type":"link"}