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ULSI stands for Ultra Linear Stereo Image. ULSI is a new stereo technique invented and developed by Erik Sikkema and propriety to Erik Sikkema Studio. The technique was mainly invented to overcome the general problems of most common stereo techniques in organ recordings, but the effect is successful on a wider spectrum of other instruments and combinations.

Advantages of ULSI in comparison to standard stereo techniques are:

1. More natural sound balance in the lower octaves and a more precise stereo image.
2. Less low frequency disturbance from harpsichord-, piano- and organ keyboard and pedal actions.
3. A more natural dynamic behaviour.
4. Singers and instrumentalists blend better together without any spot microphones at all, which improves the stereo depth enormously.
5. No hearing fatique, no pressure on the ears.
6. Listening with headphones, gives a very pleasant sound, very similar to Dummy Head stereo recordings.
7. Enjoyable also on very low listening levels of your amplifier at home.
8. Sounds also very convincing on simple and cheap equipment.
 
Listed below are the recordings that employ ULSI technology.
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Messiaen - Cosmos Consciousness - Jonathan Dimmock The Bach Organ of Störmthal William Porter Sweelinck - Jonathan Dimmock
In this survey of music by the French Roman Catholic mystic, Olivier Messiaen, Jonathan Dimmock plays some of his popular works, and also includes two rarely performed compositions, published only afer his death in 1992. The organ used for this recording is very similar in size and disposition to Messiaen's own instrument at Trinité in Paris. The performance, the organ and Erik Sikkema's ULSI recording technology combine to produce an unusual and exceptional CD. In 1723, J. S. Bach dedicated this organ with a concert featuring his choir from St. Thomas Church in Leipziag and his wife, Anna Magdalena, as soloist. The organbuilder Hildebrandt achieved an unusually high variety and quality of tone for an instrument of this size, earning him Bach's lifelong admiration, and later his collaboration on larger projects, particularly the large Hildebrandt organ in Naumburg.

This is the only recording of one of the few extant organs played by Bach, largely in its original condition!
Known as the “Orpheus of Amsterdam,” Jan Pieterszoon Sweelinck was the greatest single influence on the succeeding generation of north European organists and composers, including H. Scheidemann, J. Praetorius II, M. Schildt, and both Samuel and Gottfried Scheidt.

Jonathan Dimmock brings these influential works to life on three landmark mean-tone organs in Holland and Sweden.
Mendelssohn Organ Sonatas - Jonathan Dimmock Haydn Sonatas - Ulrika Davidsson Bach at Haarlem
Bach at Haarlem/Dimmock
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Recorded on the spectacular Holzhey organ at Weißenau Abbey (Bavaria)—an organ which Mendelssohn loved—these Sonatas synthesize Baroque and Classical style with Romantic sentiment, establishing the musical vocabulary later used by Schumann, Brahms and Liszt. This CD features Ulrika Davidsson, one of Sweden's leading keyboard artists, playing selected Haydn sonatas on the clavichord and fortepiano. The selections demonstrate Haydn's stylistic range, from Galanterien to Sturm und Drang, and are performed on the most period appropriate instruments available. Regarded as having one of the most beautiful organ cases in the world, the 1738 Christian Müller organ at the Bavokerk in Haarlem speaks nobly into one of the great acoustical environments of Europe. With 60 speaking stops, it was the largest organ in the world when built. Played on by Handel, the ten-year-old Mozart, Mendelssohn and countless other musicians over the past 275 years, this instrument continues to impress those fortunate enough to hear and play it. Grammy Award winner Jonathan Dimmock has recorded more than 35 CDs and concertized extensively on six continents. This recording features some of Bach's most popular works, including the famous Toccata in d minor.
Buxtehude and the Mean Tone Organ - Hans Davidsson Buxtehude organ works: The Bach Perspective - Hans Davidsson Buxtehude organ works: The Schnitger Organ - Hans Davidsson
Buxtehude organ works, v.2: The Bach Perspective/Davidsson (2 CDs!)
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Celebrating the 300th anniversary of Buxtehude’s death in 2007!  Recent research shows that Buxtehude had only mean-tone organs at his disposal during his life. Although there are many good recordings on well-tempered organs (including some antiques), performing these works on mean-tone instruments requires both a radical re-assessment of traditional performance ideas and a large and extraordinary organ. Hans Davidsson is the ideal performer for this task, and he plays the huge “North German Baroque Organ” of Gothenburg, Sweden. The first of three double-CDs of the complete organ works of Buxtehude; Volume One focusses on Buxtehude's best known works. Drawn by reports of the acclaimed organist of the Mariankirche in Lübeck, Dieterich Buxtehude, the 20-year old J. S. Bach traveled almost 300 miles to hear Buxtehude’s music first hand. On the second in our three-volume set of the complete organ works of Buxtehude, Hans Davidsson plays the ground-breaking repertoire that was known to Bach and his circle, and which may have influenced his musical compositions and performance. Buxtehude's visit with Arp Schnitger in Hamburg in 1687 began an association that lasted for many years and resulted in the building of the four-manual organ at the Cathedral in Lùbeck, as well as modifications to the organ at Saint Marien.  Hans Davidsson explores the encounter between Buxtehude and Schnitger using the four-manual organ in Gothenburg, Sweden in this final volume of the complete works of Buxtehude.
Mathias Weckman Complete organ works - Hans Davidsson Buxtehude Organ Works - The Complete Collection/Hans Davidsson
Complete Works of Weckman/Hans Davidsson (3 CDs!)
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Buxtehude Organ Works - Complete (7 CDs!)/Davidsson
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All components make this the ultimate organ CD, with two booklets comprising 56-pages of detailed information on registrations, the organ, Weckman, and his music. Organist of the Jacobi Church in Hamburg, Matthias Weckman (sometimes spelled Weckmann) was a student of Heinrich Schütz and Jacob Praetorius II. He combined elements from a wide variety of musical languages to create a clear and complex style all his own. Hans Davidsson is the world's leading Weckman scholar and this recording is the first to use Weckman's original registrations.
Recent research shows that Buxtehude had only mean-tone organs at his disposal during his life. Although there are many good recordings on well-tempered organs (including some antiques), performing these works on mean-tone instruments requires both a radical re-assessment of traditional performance ideas and a large and extraordinary organ. Hans Davidsson is the ideal performer for this task, and he plays the huge “North German Baroque Organ” of Gothenburg, Sweden. The complete organ works are recorded here in three volumes totaling 7 compact discs.
   
 
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