About | TrueResAudio

Through reviews, editorial features, release coverage, and a growing Index of digital editions, TrueResAudio helps serious listeners discover recordings worth hearing and understand how different recordings shape the listening experience.

Or to put it less formally, it is a place for listeners who care about how music feels, not just what it is.`

Every listener is listening for something. Not always consciously, but it is there.

For some, it's the performance. The interpretation. The musicians.

But for us, it's also something less obvious. The space around the instruments. The distance between players. The sense of being close to the music, or placed somewhere inside it.

Different listeners listen for different things.

And once you recognise what you listen for, you start to hear music differently. Certain recordings draw you in. Others leave you at a distance. Some make everything feel clear and alive. Others flatten the experience, even when the performance itself is strong.

Not just what is played, but how it comes across when you press play. Because sound shapes the experience of music. It changes how we perceive space, scale, clarity, weight, and presence.

TrueResAudio explores that idea from multiple angles, through sound-first reviews, deeper features, and a growing Index that helps listeners navigate different digital editions, remasters, and mastering versions of the same recording., all pointing in the same direction, towards music and recordings worth your time.

Who's behind TrueResAudio

I'm Pawel.

Music has been a constant for as long as I can remember. I started listening obsessively as a kid, and by the age of eight I was already buying records. The first one was Iron Maiden - Live After Death. I bought it when it came out, in 1985. (And I still have it. It's really worn out now but It's stayed with me through thick and thin.)

Over the years I've spent thousands of hours comparing recordings, exploring different masterings and digital editions, and trying to understand why some recordings create a stronger connection than others.

Today I write and publish everything that appears on TrueResAudio, from reviews and Index entries to features and release coverage.

I'm not a live music person. I've always preferred records. The controlled space, the repeatability, the ability to sit with the same piece and hear it unfold over time. That's where music makes the most sense to me.

Over the years, the focus shifted. From my childhood fascination with metal into progressive rock, and eventually into jazz and classical. Both fascinate me musically but that's not all. These are also the genres that leave room for the things I listen for, space, dynamics, separation, the sense of players existing in a real acoustic environment.

That's also where differences between recordings stop being subtle and start becoming structural. One version draws you in. Another keeps you at a distance. A third one falls apart completely.

At some point, you stop hearing them as variations of the same album, and start hearing them as different experiences.

TrueResAudio is built around that way of listening.

What TrueResAudio Covers

The magazine focuses primarily on classical and jazz recordings.

Coverage includes:

New releases
Catalogue discoveries
Reissues and remasters
Digital editions
Record labels
Listening-focused editorial features

What to expect

TrueResAudio is about finding more of what's worth hearing.

New releases that stay with you. Older recordings worth returning to. Editions that make you want to play the album again, not move on to the next thing.

The focus is the music. Sound is the lens that shapes how the music lands. Some recordings open up. Some don't. When they do, it changes everything, and the magazine follows that.

Reviews, features, and the Index all point in the same direction, towards albums and recordings worth your time.

Not everything. Not for everyone.

Just what's worth hearing.

How TrueResAudio works

TrueResAudio is a one-person operation.

Everything here is listened to, evaluated, written, and published by me. There is no editorial layer between the listening and what ends up on the page.

The advantage of that is consistency. The same ear, the same perspective, the same standard applied across everything you read here.

The structure is simple. Reviews, editorial features, and a growing Index all work together as a discovery system. Radar tracks notable new releases, reissues, label activity, and sales worth paying attention to.

The cadence follows the work. With reviews and Index, some weeks are heavier. Some are quieter. If something takes longer to understand, it takes longer to publish. Editorial features are added throughout the month.

I'd rather get it right than keep it perfectly regular.

Editorial Principles

Music comes first.
Sound matters because it shapes the experience of music.
There is no single best recording.
Reviews are personal and subjective.
Discovery matters more than completeness.