Doris Leuthard, President of Swiss Confederation: - I was on the two CDs that you sent me and the kind words very happy. Your music compositions impress me very much. -They are not just beautiful, but also achieve to create islands in our daily lives. -These islands are important in an increasingly complex world. I thank you very much.
- What the SDG mastering brings is about great and amazing. When I hear the original master which sounds slightly veiled in addition to the analog noise floor is the master version of SDG wonderfully clear and brings the timbre of the instruments much more clearly and without distracting background noise advantage. - I think that mastering for a substantial profit in relation to older analog recordings. Most of the older recordings are transferred 1:1 and then with more or less doubtful filters "castrated". - This effect is with SDG-master technology completely absent, but on the contrary, I think it generates a real improvement in sound.
Prof. Hansheinz Schneeberger, violin solo: - I can confirm that the SDG-master CD in terms of sound volume, but especially as a sound phenomenon (the sounds are not only sumptuous but also "grip") of the normal recording is far superior deal. Heinrich Schweizer's masterful way with such divergent masses of sound coming course to full advantage.
Bruno Reich, organist and lecturer in didactics, Zurich The CD with SDG-master technology is the organ its natural sound closer than without the technology. Generally speaking, the CD now sounds clearer and more present than before, without SDG-mastering. Jörg Gantenbein, sound engineer SLBmedia Buchs SG.: - Hard to believe that it is the CD with SDG-master technology, compared with the same CD without this innovation to be one and the same recording. With SDG-master everything sounds much better! Rudolf Hofer Gramophone specialist, Winterthur: - Bravo! The sound "is" sort of "tangible" in the ears. The context of larger groups of instruments is audibly better, more analytical. I would even say: We think of the good LP's, mono! For example Strauss: Ein Heldenleben on RCA, Chicago Symphony 'Orchestra, under Fritz Reiner, recorded on 8.3.1954! Still fresh, clear, full tone. Despite the good old LP's: SDG-master one step further and shows that the CD sound! Roland & Lisa Ammann, CS, Bergdietikon - The CD VDE Gallo 1196, Equipped with SDG-master technology offers a brighter and warmer tone than the same recording without the SDG technology. Dr.rer.pol Matthias Schnewlin, Zurich - Especially the "East-West Symphony" sounds flat on the old CD, produced the CD with SDG-master technology, but significantly more spatial depth. Some excerpts from the correspondence with the composer Mr Heinrich Schweizer during the work of remastering and pressing record collection of 25 years, which was published under the title "The Music of Heinrich Schweizer" in Lausanne label VDE-Gallo.
- Even now, sitting in front of two speakers of a small and modest price playback device, gives the impression as if these were right at the concert hall where the pieces are listed! The sound is thanks to your technique, turns everything like a magic wand, suddenly so full, authentic and rich, as usually only the ears of live performances are accustomed. - This morning, came in the mail, the new CD with your so amazing, stunning sound that surpasses all that went before once again! The Jecklin - was then head for tape recording a true event, but when one involves your achievement, it is now very close to the perfect sound as if you were sitting in when listening to the concert hall and listen without any technical impediment to the musicians. - What's My expressions of concerns about your technology, I would like to add that the mood of SDG-master CDs a great comfort to those people who still mourn the gramophone records. Then you have developed a new sound in many respects corresponds to the sound of the old (analog) records, which may soon be perceived by a growing audience and stimulated for pressings. 
- What I received from you is respect SDG-master sound enhancement is the ne plus ultra. I'm very satisfied and would like to seriously propose to change nothing more! Delighted me that you have taken away the 'Historical Symphony Suite' - at the beginning of Track 19 - over a few seconds across the described technical fault entirely, and the piano solo from 4'49 to significantly better embedded! Your success with the removal of technical problems leads me to think that you are getting some other clearly audible clicks, which were discovered over the years in the recordings, to disappear, or weaken, if not possible! This Clicks disturbed me about your previous sound improvements not so much. But now that the whole sound picture of AZ was highly sensitised falling clicks to something unpleasant. Should you, dear Mr. Spischak, but not be able to stem the flow below clicks easily and quickly, I would ask you to refrain! One would assume that the result then, how did you get it done up to this level - and that is really a huge step forward compared to the previous sound improvements! - By the way, what is the detailed description of that Grado headphone? 
- The talk is over and you win with your technology, according to opinion of those present in Zurich! One teacher expressed it clearly: "Without SDG master tones, as if they had cotton in his ears, with SDG-master, but without wadding and all clear, clear!" Mr Mittelholzer and his colleague were long engaged in the establish Magnepan speakers. For the practice of speech-music detachment was no time. At the last minute, the two pairs of speakers were matched and then it started - all improvised, but without actual failure. - They asked how proceeded to lecture at Hong Kong University. No biggie, except that the preparation and adjustment of the two pairs of speakers and two amplifiers in Zurich, as well as in Hong Kong too much time was in receipt so that when we sample of the presentation were a little too short. That will change in Singapore. The audience was impressed especially by the unbeatable combination of perfect SDG-master CD and Magnepan and still had time to listen! In Singapore, I will give the lecture twice, before the Rotary Club of Singapore and at the National University of Singapore, both dates in the second half of January. - For two days I consider myself on the warm tropical Singapore. The talk in the full East India Room at The Raffles Hotel yesterday was very well received. The Rotary members - almost all the intellectuals from around the world - listening to the SDG-master reproductions intently. The comments were overwhelmingly positive, although the music from speakers (on the ceiling! Heard) were appropriate and in my opinion were not quite authentic. But every Rotary member received boar on a piece of the detailed information, the CD, especially where in Singapore, it is available. - The speaker before me was a senior U.S. official who works with the Singaporean government as an economic analyst together and to eliminate because of the recent incident on the international stock many swirling jam trying. - Thanks to your SDG-master technology is heard to say, everything suddenly beautiful and ideal, relative to what you mentioned wrong choice of tracks 1,2 and 5, 6, 7 + 8, so, for "very sad" even slightly sweetened. You the last track "Tomara Charane" set so loud that it sounds like a Fest march and less like a meditation. Now, with the Chinese at this level is probably just right! - Today, the blue CD finally arrived and I will reimburse you 17 or over clock a detailed report. Overall, all sounds again, unlike before, but definitely better, even better than ever! To put it more precisely: The new burned blue-CD even sounds a lot better than the publisher in China recently pressed CD with the same program on it! Such a success out of your house! - Did you know that on 7 December in Hong Kong have been performed for six metamorphoses my brass and organ, and recorded? This recording would be a master SDG-tolerated treatment well. What I have feared has now arrived, I was forced to cancel the trip to Beijing, because the CDs are still on pressing her wait. We were comforted for this loss with a popular television interview with recovered - my family - on television here, and today a one-hour interview with a major newspaper. The TV show was broadcast 4 times already, next Sunday, followed by 4 other programs like this, and again on Monday a. If this were the television stations in Europe are so generous ... - You have added "Hadlaub", this time to a great advantage, because this recording in my heart, I can finally accept with satisfaction! Previously, I had the recording (no matter that it was s played by the London Philharmonic Orchestra) hated after several auditions and excreted by the rules provided for a publication, But now is gone, the angular, often orchestral sound and eroded as it is of course, breathing sounds, how it is used by a philharmonic orchestra of this rank, replaced. Bravo Maestro Spischak! Just because "Hadlaub" in this version has my favours purchased SDG successful, the recording is now attached to the very end of the China-CD! - Have there already been communicated to the publisher in Beijing. - The new CD, which I have just received from China have, in your conversation with the label as an encore certainly well done, because it sounds great! If one compares the first CD pressed in China with the second, present, we shall immediately set a much better sound quality, which is due to your technology. Today I will send you a copy of this CD.
- Recording History (s): 'Alpstein Suite' and 'Variations for 3 subjects Provencal' - recorded on 8-track ProTools device, from Mr. Michal Zak, in the radio building in Pilsen, CZ. 'Symphonic Bagatelles' and 'Love in Spring' -, was added with 8 microphones in the concert hall of the National Theatre in Bangkok, Mr Christoph Martin Pious (from Jüchen, Germany, near Cologne). It was a TV production, with some hundred invited people overheard in the hall. 'Intermezzo' - with Bruno Reich at the organ was recorded by Mr Martin Girsberger, Höri, with two microphones. 'Alphorn music' -, was made by Mr Hans in beautiful Neumünster Church, Zurich, with a simple DAT device - two microphones - was added. 'Trio for Flute, Bassoon and Piano' - was in the Lyon Studios, Singapore, recorded by sound engineer John Herbert, with a minimum of 3 microphones. 'East West Symphony' - was of RSI - Radio Switzerland International - recorded live in the great hall Tonhalle Zurich with 16 microphones! 'Swiss Panorama' - was taken by Mr and Mrs Bauer (studio BAUER, D-Ludwigshafen) digital - Microphone No. I do not know. 'Historical Symphony' - has been taken by Mr Christopher Parker at the EMI Studios on Abbey Road, London, with several microphones. It was the time (1981/82) in which the first digital recordings were made. - The selection of the required for the editing takes (the most anxious to be joined together excerpts) - as always - did the editing myself EMI sound engineer David Bell. A whole week, he and I were sitting at the brand new JVC digital machine, which Bell's words, "still in its infancy." The composition of that selected Takes lasted terribly long. It was not yet technically possible, the tape recorder at a certain number of coils with a specified point towards. You had to estimate distances, and also the winding process went very, very slow! - As I said earlier, was in 1982 by Ex Libris Publisher issued a record produced by EMI made available to analog tape with speed of 38 cm per second. When I bought 2 years ago by EMI, the original, digitally captured U-matic tapes, they sounded when playing extremely softly, so "as to the seabed and could not be used for a new editing. 'Singapore' and 'Symphonic Splendour' (tracks 20 and 22) - were taken by employees of the Singapore Symphony Orchestra at the Victoria Concert Hall with just two microphones, which were about 30cm distance from each other live. "China Town" - was from the radio SBC, Singapore recorded, in the Victoria Concert Hall live with two microphones. 'Five Days in Avignon', piano solo pieces were - in a studio in New York City recorded with analog tape. There has been the fastest possible speed (76 cm / s). I want to tell you yet that I often with Mr Wettler of Schlieren, Zurich, tapes edited and recorded. Mr Wettler - meanwhile, no longer alive - was one of those sought-after sound engineers who had created the then unique and very special sound of the German phonograph - Records and shaped!
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