Recorded over four months, The Audiophile's Guide: The Stereo laid down tracks in Octave's Boulder studio, PS Audio's main warehouse (for BIG sound), and Lyons Colorado's Animal Lane Studio. Every effort was made to maintain not only the purity of recordings, but the accuracy of miking, distance, and purpose. The three depth tracks, for example, were recorded in PS Audio's warehouse with centimeter-precision so that when you listen at the three intervals: 3 feet, 6 feet, and 9 feet, you can be certain what you are hearing is precise. Another great example is the level of care and detail exemplified in the Drum Solo. Engineer Jay Elliott went all out to get the best from this amazing drum kit. The kit consists of a Ludwig 1970 Blue Sparkle 20” kick drum, 12” rack tom, 16x16” floor tom, 14 x 6.5” Ludwig Superphonic John Bonham LM 402 snare drum, Zildjian New Beats Hi-hat 70’s era 14”, Custom Dark Crash Kerope by Zildjian Crash 18”, and a Kerope by Zildjian 22” ride. To capture this kit, Jay employed his favorite setup for close miking: a Shure Beta 52 for the kick-in and a cardioid patterned, phantom powered, large diaphragm FET Soundelux U195 by David Bock for the kick-out. The top of the snare was handled by a Hypercardioid Beyerdynamic M201 with its phase flipped while the snare’s bottom was a Telefunken M80. The rack tom was captured by a Shure SM7B Cardioid dynamic microphone and the floor tom, an Audix D4 hypercardioid dynamic microphone. To capture the ambient room response, a careful combination of AKG C24, Grados, Sony C100s, were used for the overheads, and a Coles 4038 with flipped phase was placed twelve feet behind the drum kit for space recording. Using The Audiophile's Guide: The Stereo book and disc or vinyl, it's easy to follow the step-by-step instructions to obtain near-perfect depth, imaging, tonal balance and 3 dimensional sound where your speakers disappear and the musicians seem in the room with you.