Our publications are produced at our studios in the middle of a one-hectare park with ancient trees. Here you'll find an Ampex ATR-124 'King of All Tape Machines' for pure analogue 24-channel recording. With our state-of-the-art equipments, we can also record digitally on 40 channels using ProTools HD (192/24 format) or Pyramix DAW software (Pure DSD256 format) via Merging Hapi converters. Mixing and mastering can be done analogue on Studer 961 consoles to Studer A80 tape recorders, or purely digital.
The most important thing for me is the feeling of pleasure that the sound gives me. Sometimes even the music I play becomes secondary. This must be a kind of primeval feeling, because there are so many kinds of music whose value is not in its beauty or spiritual content, but in its acoustic power. These kinds of music have an effect like a good meal, a fine wine or the feeling of the sun on my skin. You will notice that our albums are very varied. I'm not a designer. What catches me, what I fall in love with, is recorded. The painful beauty of live music is that it only exists in the moment. That's why it's important to record music, because it's a fleeting treasure, and it's the only way we can keep it, like a book keeps a thought.

Róbert Zoltán Hunka

Master Audio Files & Booklets
Hunnia Records Published Collection infos

CD – VIinyL – BluRay – DVD – Pure DSD256 Audio files

In 4 separated rooms
24 channel analog –
Ampex ATR-124
40 channel 192/24 – ProTools, Logic, Studio One
40 channel DSD256 – Pyramix – Merging Hapi, Anubis

STUDER 961 Recording Console
Steinway D
Model Concert Piano, Hamburg
Fender Rhodes
Vintage guitars and amps: Gibson, Fender, Taylor, Marshall…
Drums: Sonor: Signature - Lite - Phonic - Swinger, Ludwig: Rocker , Yamaha: Recording Custom
Cymbals: Paiste, Turkish, Zildjian, Istambul Agop …

Dynaudio, Living Voice, Peak Loudspeakers, Van Medevoort Audio, Plinius, Alluxity, Sugden, Lavardin, NuPrime, Helius Design, Acoustic Signature, Triode Lab, Atacama Audio, Black Rhodium Cables

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