AS I WROTE ON THE OCCASSION OF reviewing the Cantate Domino album, issued by the AudioNautes Recording label, I met Fabio Camorani, its founder, during the High End 2005 exhibition in Munich, i.e., twenty years ago (review → HERE ˻PL˺). During the show, he presented the AudioNemesis DC-1 digital-to-analog converter, which we reviewed shortly afterwards, and which became very popular; review → HERE.

⸜ Fabio Camorani on his “stallion”…

The DAC was inexpensive, but fantastic – so good that even high-end systems wouldn’t be ashamed of it. And, as I know from many letters from you, they would not be ashamed, because the DC-1 worked in many places where every interconnect was much more expensive than it. And although AudioNemesis brought Fabio recognition, this brand was his side project. The love of his life was, and probably still is, tube and analog equipment, and the company that has been most important to him emotionally was AudioNautes.

It offered expensive amplifiers and loudspeakers, but also distributed top LPs, e.g., Three Blind Mice reissues (“TBM Super-Cut Analogue Disk”) prepared by Cisco Music (now Impex). Fabio had access to low-numbered copies, which I also took advantage of at the time. I think that exposure to this class of releases led to a later shift in his activities and a focus on reissues – top ones from the very beginning.

In addition to 1Step LPs, analog tapes, and UHQCD discs, AudioNautes Recordings also offers incredibly expensive Crystal Discs; more about these formats in the article Compact disc – Yes, Of Course! But What Kind? → HERE. The titles that Fabio chooses are mostly audiophile classics, but also albums we have forgotten about. It is stated on the official company website that:

Founded in 2010, AudioNautes Recordings was born with the vision of offering the ultimate versions of beloved, often forgotten recordings.

Our inaugural release, Flute de Pan et Orgue (1982), featuring Zamfir and Cellier, revitalized a remarkable yet overlooked gem. Inspired by Mr. Cellier’s passion, we embarked on this journey with unwavering confidence.

We are dedicated to working exclusively with original master sources – whether analog, digital, tapes, or DATs—ensuring the highest fidelity. We avoid remastered versions, partner with world-class engineers, and utilize the finest pressing plants.

⸜ About Us, → www.AUDIONAUTESRECORDINGS.com, accessed: 29.07.2025.

AudioNautes Recordings seems to be one of the currently most interesting small labels offering audiophile reeditions. WOJCIECH PACUŁA talks to FABIO CAMORANI, the company’s founder and CEO.

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WOJCIECH PACUŁA Fabio, please tell us something about yourself – where are you from, what did you study, etc.?

FABIO CAMORANI I am an electronic engineer, graduate of the University of Bologna. I still live in my hometown Forlì, Italy. When I was young, I trained different sports a lot. After a long break (caused by knee problems), in 2015 I restarted in a more serious way, practicing triathlon. So far, I have completed 11 Ironman triathlons, which means I train daily. I’m also a Master Black Belt in Lean Thinking (that has nothing to do with diets :).

I’m married and I have two daughters, 17 and 18 years old. Federica (17) loves swimming, and she is fast in open water. Valentina (18), after many years of swimming, is practicing triathlon at a high level.

WP When and how did your adventure with music start?

FC I have loved music probably from my DNA. My parents did not listen to a lot of music, they preferred to dance. I discovered that my grandfather played the violin before WW2 and that’s why I’ve mentioned DNA. Despite my love for music, I was forced to wait a long time before I could have an audio system at home. I started to read audio magazines in the 80s. After getting my first system, I started to upgrade it with subsequent modifications.

⸜ The Audio Nemesis DC-1 – the D/A that Fabio created to prove that one can inexpensively make a top-of-the-range audio product.

WP Do you remember your first audio systems?

FC Oh, sure! I was not very young, I was 18 I was 18 and it was a gift from my parents. As I’ve already mentioned, I had waited for it for so long… The turntable was a plastic Yamaha one, the cassette deck was a cheap but effective TEAC, the amp was a Toshiba integrated amplifier and the speakers were the Mission 70. I disposed of the Yamaha turntable a few years later (after a long period of use), the Toshiba is at my sister’s home and the Mission loudspeakers are still used by my wife in our bedroom’s small system (with a Pioneer PD-7700 CD player and a Scherzo SE tube amp – alongside Stax electrostatic headphones).

WP When was the AudioNautes company founded? How did it start? What did it deal with?

FC In 1994 I published an article on a very particular OTL mono amp. The idea and design came from Mirko Bersani, I just supported him. This allowed me to get in touch with Harvey “Gizmo” Rosenberg (NYAL founder). We talked a lot about OTL amps (NYAL – New York Audio Laboratories, American manufacturer of OTL amps (1980-1987) – Editor’s note). The “Sound Practices” magazine published my article describing more versions of my OTL amplifier (I still meet Joe Roberts, its Editor-in-chief, in Munich every year).

At that time, I was getting lots of questions on how to upgrade audio equipment, etc., so in 2000 I started offering upgrades for CD players (clocks, for examples) and some amplifiers: thus AudioNautes was born. In the 1990s I also met Imai-san of Audio Tekne several times and I learned so much from him. I soon added loudspeakers using the Diatone PA-610 driver (AudioNautes model S-1), inspired by the Audio Tekne small speaker, to our offer. I also added preamps and power amps, as well as horn speakers (with transformer attenuation in the crossover), etc. However, I did freeze further developments after some time because the AudioNemesis company was created.

WP It was then that we met…

FC Exactly one year afterwards. In 2004 I thought that I could design some inexpensive devices offering high quality sound. Cost-no-object products are not really hard to make; the challenge is to get good results with a limited budget.

⸜ The inside of the DC-1

The first product was the DAC you know well (the DC-1). After modifications, it became the Very Limited Edition (DC-1 VLE) that I still use (yes, with my dCS!). It is still searched for, people still ask me about it. I later added a line preamp (the LT-1), a phono preamp (the PM-1) and a pair of hybrid mono amps (the PA-1m) that I use regularly.

All of these products are simple. With time, some problems in producing the chassis delayed further developments and I did freeze again… It was then, though, that the concept of the hybrid amp called Echidna (a well-known “hybrid” creature) originated, and more bigger amps were developed (not launched at the time). A special phono preamp was also created…

Back to AudioNemesis, people very often thought the DACs were from China and that they could buy identical products for 1/10 of the cost. I organized contests to demonstrate the contrary (things are never what they look), but it didn’t work out too well. However, the lesson taught me a lot.

WP Can we expect new AudioNautes products?

FC If you mean the electronics, I still need to work on the sound. There are a few things that are a bit borderline when it comes to our current capabilities and this requires extra effort. Once this is defined, we will work on the appearance: I have had very good designs for years, we just need to adapt them to contemporary requirements and possibilities. However, I can tell you that I'll show you something in a prototype version in the next few months.

WP When did the AudioNautes Recording label start and why? What was your first project?

FC I debuted in 2010. I think the reason was “trivial”. Since I already had a big collection of discs (mainly vinyl ones) and among them several editions of the same titles, I noticed that the editions could be very different in sound. I started wondering why each label was giving its own sound, its own interpretation to each of its editions.

⸜ The first album issued by AudioNautes Recordings, Gheorghe Zamfir et Marcel Cellier’s Flute de pan et Orgue

The next question was: “Can we do it better?” So, we started trying. I asked the Divox label for Vivaldi’s Four Seasons, as I wanted it to be my first release, but it took too long (Wolfram is sometimes slow to reply :), so I focused on Flute de pan et Orgue which I loved very much and which had almost been forgotten (Wolfram M. Burgert produces mainly classical and jazz Divox recordings – Editor’s note).

So, I wrote the Swiss Disque Cellier record label and one day I got a direct phone call from Marcel Cellier himself! We spoke a lot on the phone (I will remember this forever!). He called me again soon and invited me to meet him in Swizerland. And so it started. At that point, understanding the importance of a disc as an artifact, I needed to choose a name. It was only natural for me to contact Stan Ricker – a great guy. The result was the beginning of this adventure and the creation of my first AN-1001.

WP What are the principles of selecting recordings for AudioNautes Recording?

FC We alternate between famous great recordings and forgotten ones. In any case, very good mastering quality and very good music are the key elements. I have plenty of titles that I’m interested in. Some of them are ready to go, other ones need a deal. In any case, we ask for original session tapes (or files, if it’s a digital recording), or original masters (or a super good copy): we do nothing if we can’t get them.

WP What does the mastering of your recordings look like?

FC To be honest, there is no real secret to it. The basic elements, however, are uncommon: time, money, “ the ability to master” and teamwork.

Lots of labels claim to use special electronics, special processes and special mastering elements, etc. And they offer (or at least declare to offer) their own specific sound. Our approach is a bit different. We want to recreate the feeling of being “there”, the live performance feeling. We do not change the original masters, we work to bring out their best aspects, correct the mistakes, feel the event in our bones. This requires a lot of time, listening tests, changes, trials, money and sensibility. It all results in what we call “mastering”. This is why it’s teamwork.

⸜ The album that Fabio wanted to start with: Vivaldi’s Le Quattro Stagioni, performed by Sonatori De La Gioiosa Marca, Giuliano Carmignola

Right now, three people plus a supplier are cooperating with the label. Pietro Benini, the studio owner, is one of the very best and very few analog audio experts remaining out there (and the art of analog editing has almost disappeared). Roberto Mengozzi helps us with listening tests, both at the studio and at home (he was the one who assembled all my AudioNemesis devices). He also helps us with the packaging of the box sets. The supplier I mentioned is also sort of a partner, like all good suppliers: they developed the special box sets for the tapes, the ones for the LPs and also the rigid gatefold we use in double LP 1-step editions.

Scott Hull, who cuts the lacquer, is a person fully aligned with this vision. Lacquer cutting can be very cheap or very expensive. Pushing the right buttons of a Neumann lathe is very cheap. However, I always ask Scott to experiment to get the best possible results. This means several thousands of euros per title – no one else does it. The cost also depends on the complexity of the music. Since it’s a mechanical process, sometimes it’s simply impossible to put everything inside the groove, which forces Scott to experiment with the settings to find the right ones. Sometimes it takes many trials (and it’s very expensive…).

That’s why I said we need time, money and the “ability to master”.

When I started, I was strongly convinced that a very straightforward approach was the only possible way to get the best result. My direct experience with musical material showed me that I was completely wrong! I have mentioned “correcting mistakes”, right? A lot of such mistakes to correct may occur with session tapes and sometimes there may be no way to cut directly from them. Cantate Domino tapes are the best example.

So, how does it work? When we get the master tape, the first step is to make a safety copy (we use two Otari MTR15 tape recorders for this). While doing it, we listen to the recording for the first time. The second step is to do a digital transfer, usually 24/96 or 24/192 PCM. We try to do all this together (with the safety copy). At this point we take that digital transfer home and listen to it carefully. Next, we share our evaluations, pointing out the good and bad aspects of the recording. At this point we start to discuss “how to do it” and Pietro begins some trials.

Sometimes it takes a relatively short time to catch the essence, but sometimes we need MANY trials and smart ideas. We meet again after getting some potentially good results and we evaluate together if the given direction is the right one. We discuss it a little more, bring the results home and listen again. This process is repeated as many times as it is necessary.

⸜ The first album offered by AudioNautes Recordings: La Spagna Crystal Disc

When most of the work has been done, we move on to the fine tuning. The digital version is used only for this phase because it’s very practical and quick. Once we get the desired result, we go back to the analog. All things are done in the analog domain, and we create a new master. We listen to it and, if it’s ok, we end the process.

If the master is digital, the process is similar. Our CDs are usually AAD or DAD, depending on some aspects. However, the AAD format, for example, is made from analog tapes, mastered in the analog domain and transferred to a pressing plant in the 16/44.1 format: they are not 24/192 (or 24/96) files transferred to 16/44.1: this is important!

I hope that “High Fidelity” readers can understand how complicated it can be to obtain the best result – it’s never straightforward and never can be. It’s not enough just to listen, set the EQ and cut out what we don’t like.

WP Were your choices during mastering influenced by your experience distributing TBM discs?

FC I must admit I was very influenced by the dynamics of TBM vinyl discs. I must admit. It was with them that I understood what "live-like sound" means – the sense of BEING THERE is what I want and what I strive to achieve. TBMs are yet different, as their studio recordings are very particular, but they really touched me.

WP Do you work with NAB or CCIR equalization? At what speed do you record copies? Does it make a difference?

FC We use CCIR equalization and all our tapes are recorded with the speed of 38 cm/s (15ips). We use CCIR and everything is in 38cm/s (or 15ips). We think that CCIR is simply better for our purposes. I must add that we offer tapes with NAB on request. Soon we will work with 1/2" tapes (also on demand with our titles). Everything is always recorded with our Otari tape recorder.

WP What A/D converters do you use to get your CD material?

FC We use the dCS 904 converter.

⸜ UHQCD recordings issued by AudioNaures Recording look great – these are boxes with additional elements inside

WP How do you choose the format in which you release the material?

FC The format must be the very best. We do not use trendy solutions, but the best we know. The first CD we did was Vivaldi and it was done on 24k Gold in the USA (thanks to Abey who helped me).

However, Abey also suggested that I contact Andy Lam regarding distribution in Asia. Andy then suggested that I give the UHQCD format a chance. Once again, the only way to evaluate it is to do some trials (one is not enough), which means investing money. I was fascinated by the UHQCD technology and all the tests were great. No doubt, the UHQCD is our format for CDs. Then I also discovered the Crystal Disk and our La Spagna reissue was the very first Crystal Disk produced outside Asia, while Andy became my good friend and business partner (Andy Lam is the owner of the Fung Hang Record label – Editor’s note).

WP What are your plans for the future?

FC If you mean for the label, I have so many projects that I do not know where to start from. In 2025 I’ll publish five new UHQCDs of the “gold series”, five titles from the very best jazz albums ever. Of course (for us), they are going to be AADs coming from great copies of the original analog masters! And there will also be Vivaldi (Four Seasons) on UHQCD, after many years of requests.

From the vinyl perspective, we are getting the one-step version of the famous The all-star percussion ensemble right now, but there will also be Supraphon’s Carmina Burana from 1961, which took us so long to complete: almost three years… Belafonte at Carnegie Hall on eight single-sided one-step 45rpm will follow.

⸜ A Crystal Disc with the Time Out album by The Dave Brubeck Quartet – this format has been, so far, the ultimate one for CDs. And the most expensive one, too… The price of such a CD is PLN 6,000 now.

However, 2025 is not finished. We have just signed a contract for five vinyl discs with the main jazz titles, like in the case of our CD “gold series”. The first one will be published in 2025 and it’s going to be Sketches of Spain (no need to present it), and in 2026 four more will follow, including Time out by the Dave Brubeck Quartet. They will be one-step 45rpm, AAA – yes, fully analog remasters.

We have also obtained the right to issue Nat King Cole’s Penthouse Serenade. It’s a very “tube-like” disc from the year 1955, and this year marks the 70th anniversary of its first issue. Among our 2026 productions, we will also have the 50th anniversary special edition of Cantate Domino. When it comes to the other two brands... there’ll be surprises.

WP Describe your current audio system, please.

FC It’s mainly the one I describe in each booklet, with minor changes. The analog source is a Micro Seiki 3000 turntable with two tonearms: the Ikeda IT407 and the Ortofon RMG-309i. I use three cartridges: the Lyra Atlas Lambda SL, the Audio Tekne MC6310 and the Fidelity Research FR-7 (copper). I also have a FR-1 (silver) that I alternate with a Goldring MM in my second small Denon turntable for quick checks. The phono preamplifier can be my old AudioNautes TPL-1 and the AudioNemesis PM-1.

The digital player has been a modified CD TEAC P-30 for a long time and now I have introduced the Musicnote MP1, while the DAC system is a set of professional dCS components, the 974 and 955, with an external dCS clock from the same manufacturer. These dCS devices are very rare prototype units because they are DXD capable. I know dCS made only three units of the 974 and three units of the 955: I have two 974s and one 955.

I have a few power amps, from my super trusted mono AudioNemesis PA-1m to old tube and new prototypes. Yes, I do own many prototypes… The loudspeakers are something really uncommon: the AudioNautes Monitor 2.0 prototypes and AudioNautes Arcadia Horns 2.0. What makes these truly different is the fact they use Goto Unit speakers.

WP If I may ask: what about streaming and files?

FC I do not use streaming, but I have a great Tascam D3000 player for listening to files. Speaking about differences, once I compared my UHQCD version of Antiphone Blues with the 24/192 version that everyone can buy or stream: I’m sure you know the answer. This is yet another proof that great resolution results from hard work.

WP What should our readers look for when choosing a specific reissue? Isn't it the case that the original LP releases sound best? And what about CDs?

FC A difficult and long answer here. From my experience, if the original LP sounds better, something went very wrong in the re-issuing process.

That's not a surprise if done by a “major” (a large international corporation in the music industry – Editor’s note), knowing how majors work. I suggest not trusting them too much when a re-issue is published. First, we should see who made the new version of a given title and with which process, from which master. Very often, majors do not offer a tape copy but only a digital transfer and, from our experience, they are pretty bad.

⸜ With remasters, the label uses an Otari tape recorder, here visible in the Cantate Domino booklet

As I have already said, most "audiophile" engineers and labels cut lacquer with a clear "family sound": a good or bad interpretation of the master. Most "standard" engineers cut it by pushing quick cut buttons on the Neumann and control console: nothing good comes from that. And, so far, I've never heard some colored vinyl sounding better than a serious black or pure (clear) one. Last and not least, an almost obvious comment: something done in a serious way can't be cheap, while something expensive may be very bad. I can also add that if we trust a label because we have some of their titles and they are great to us, we can probably trust it again.

Regarding CDs, I've seen a certain difference in where they are produced. Even if in the end there is no real price difference, when produced in audiophile quantities, the quality of the final result is different. I'm speaking about standard CDs. A 24k Gold CD does not cost less than a UHQCD, while the UHQCD sounds better. By the way, the reflecting surface of a UHQCD is silver because, based on tests, Gold CDs do not sound better. In the case of Crystal Discs gold is used, because tests prove it sounds best with them.

It’s important to understand how much Memory-Tech has invested in developing this format. As for CD re-issues, we should also check who mastered them, where they were produced and from which master. In our "gold series" (a nickname for our series of re-issues of the most famous jazz titles) we use top-quality official (it's important) copies of original analog tapes – we could never accept anything different.

WP Have you perhaps thought about SACDs, maybe in the SHM-SACD version?

FC Yes, and probably for some markets it could be a better idea. However, the UHQ process is by far better, making a CD sounding amazing, better than a CD-R burnt from a console. At the moment I do not see anything really better (apart from Crystal Discs), but if I see anything, I'll evaluate and consider it. For example, I tested the MQA, investing money to have one of my titles encoded in 24-176.4 kHz MQA. I liked it and I'll probably prepare more titles in this format next year, although I need to investigate it further in order to get the very best from it.

⸜ One of the unique AudioNautes Recording products are 1:1 “master” tape copies

WP What three titles from your record label would you recommend to our readers to start with and why?

FC Choosing among available titles (not sold out), I suggest Cantate Domino and Jazz at the Pawnshop on UHQCDs, because everyone can compare these versions with ALL others and understand the differences between them. And Vivaldi one-step 2 x 45 rpm: a famous title that can be appreciated in any case. I have more to suggest but these are enough to get the point.

WP Thank you, Fabio, it’s been a really interesting conversation! I wish you only hits from your record label :)

FC Thank you, too. I appreciate it and warmly greet all “High Fidelity” readers! ●