Aar Edition International, Editorial 2

What is new, however, is the consistent use of these very modern music production technologies of our time in the classical sector – as this requires an incomparably greater extent of scientific-technical and artistic know-how. The advantage, on the one hand, is the possibility to produce work of sheer unlimited compositional and tonal complexity – whereby the invention and inclusion of Dynamic Space Stereophonyis undoubtedly of great importance. On the other hand, compositional ideas can be put into concrete terms and

musical degrees of difficulty, for which even the best interpreters in the world are no match, can be overcome.

But since Karajan at the latest, digital techniques have been used during recording, in order to balance any incompetencies the players might have when playing their instruments, but also the conductor’s incompetencies, by inserting new passages and digitally editing in the rest – both, entire orchestra passages as well as individual soloist's passages.

The fierce international competition in striving for the highest possible artistic perfection and technical precision, practically forces every orchestra to employ digital technology to produce CD recordings to achieve the highest degree of accuracy for the musical work. However, in classical music so far, only a maximum of 3% of such great digital possibilities which are today internationally available are being utilised.

The reason being that today's professionals had and have to do pioneering work to gain their knowledge in this field, and are no longer affordable for such enterprises as orchestra recordings on CD with the required number and range of digital instruments – for the largest item is here not the orchestra and the conductor, but the digital recording team of experts and their complex range of instruments.