Rips sourced from Japanese Super High Material CD pressings are highly regarded in audiophile circles for their flat, non-fatiguing transfers from the original master tapes.
For complex music like symphonic prog, audio format matters immensely. Standard MP3 compression strips away the subtle details that make these albums special. Opting for Free Lossless Audio Codec (FLAC) files provides several distinct advantages:
The 1971 release was also, famously, part of the soundtrack for the film La Vittima Designata (The Designated Victim). The Evolution: Concerto Grosso N. 2 (1976) new trolls concerto grosso n1 e n2 flac s top
The intricate violin solos, delicate adagios, and soaring electric guitars in Concerto Grosso N° 1 (especially "Shadows") and N° 2 benefit immensely from the high fidelity of FLAC.
The material is currently and active. For the best experience, prioritize the Hi-Res (24-bit) Remasters currently being distributed on audiophile sites. Rips sourced from Japanese Super High Material CD
A coda dedicated to Hendrix, rehashing the Adagio theme in a heavy rock style. Contains the 20-minute track "Nella Sala Vuota"
When dealing with music that layers a full rock band (drums, bass, overdriven electric guitars, synthesizers) over a traditional classical orchestra (violins, cellos, brass, woodwinds), standard lossy formats like MP3 simply fall short. MP3 compression cuts out the subtle frequencies and squashes the dynamic range, resulting in a muddy mix where the orchestra drowns out the band, or vice versa. Opting for Free Lossless Audio Codec (FLAC) files
This is a unique topic because it bridges the gap between 1970s Italian progressive rock and the modern pursuit of high-fidelity audio (FLAC).
, a long-form improvisation showcasing the band’s technical skill, including an extended drum solo by Gianni Belleno. Concerto Grosso N. 2 (1976)
The “S-Top” FLAC (typically 16-bit / 44.1 kHz or higher, sourced from a high-quality remaster) is where this release truly shines.
The first Concerto Grosso was a revolutionary concept. Composed by (who later won an Academy Award for the Il Postino score) and performed by the New Trolls, it was not merely a rock band playing with an orchestra. It was a true fusion.