2019 Grammy Award - Best Engineered Album, Classical.  Shostakovich Symphonies 4, and 11.  Boston Symphony Orchestra, Andris Nelsons, cond.

2019 Grammy Award - Best Orchestral Performance.  Shostakovich Symphonies 4, and 11.  Boston Symphony Orchestra, Andris Nelsons, cond.

2017 Grammy Award - Best Orchestral Performance.  Shostakovich: Under Stalin's Shadow - Symphonies 5, 8, and 9.  Boston Symphony Orchestra, Andris Nelsons, cond.

2017 Grammy Nomination - Best Engineered Album, Classical.  Shostakovich: Under Stalin's Shadow - Symphonies 5, 8, and 9.  Boston Symphony Orchestra, Andris Nelsons, cond.

2016 Grammy Award - Best Orchestral Performance. Shostakovich: Under Stalin's Shadow - Symphony No. 10 Boston Symphony Orchestra, Andris Nelsons, cond.

2016 Grammy Nomination - Best Classical Instrumental Solo.  Rachmaninov Variations. Daniil Trifonov

2015 Grammy Nomination - Best Engineered Album, Classical.  Riccardo Muti Conducts Mason Bates & Anna Clyne. Chicago Symphony Orchestra

2014 Grammy Award - Best Engineered Album, Classical.  Maria Schneider "Winter Morning Walks"

2014 Grammy Award - Best Classical Vocal Solo.  Maria Schneider "Winter Morning Walks"

2010 Grammy Nomination - Best Chamber Music Performance.  Schoenberg String Quartets Nos. 3 & 4.  Fred Sherry String Quartet

2010 JUNO Award - Classical Album of the Year (Large Ensemble with Soloist).   Alain Lefèvre & London Mozart Players.  Mathieu, Shostakovich, Mendelssohn: Concertino & Concertos

2009 JUNO Award - Classical Album of the Year (Solo/Chamber Music).  James Ehnes "Homage"

2009 Grammy Award - Best Instrumental Soloist (with orchestra). Evgeny Kissin/Vladimir Ashkenazy Prokofiev Piano Concertos

2009 Grammy Award - Best Instrumental Soloist (without orchestra).  Sharon Isbin/Mark O'Connor "Journey to the New World"

2003 Grand Prix - Franz Liszt Society.  Dubravka Tomsic: A Liszt Recital


Released in 2013 in celebration of Giuseppe Verdi’s bicentennial, this recording of his late opera Otello is taken from three concert performances by Riccardo Muti and the Chicago Symphony Orchestra, recorded on April 7, 9, and 12, 2011. This performance of Otello easily ranks with the finest of past recordings, though it is assured a special place among audiophiles. Released in standard CD and hybrid SACD formats, the sound is extraordinarily clear and powerful, with deep dimensions and dynamics that are utterly realistic and even shocking at times.
Allmusic review of Verdi’s OTELLO, Chicago Symphony Orchestra, Nov. 2013 (Blair Sanderson)

The four Renaissance lute works are a lovely way to open this delightful recital… Joan Baez sings two folk songs with her characteristic pure tone and poignant delivery.  John Duarte’s Joan Baez Suite skillfully weaves contrapuntal passages, thematic juxtapositions, occasional dissonance, delicate harmonics, and quotation into a moving tapestry…. In Strings and Threads Suite, O’Connor’s fluid grace and deep affection for the genre are evident in every bar and Isbin has a fine feel for the music….A beautifully played program of instantaneous appeal. Sound is immaculate and lifelike throughout.
Fanfare review of Sharon Isbin and Mark O'Connor's "Journey to the New World"

Here is one of the best sounding piano recordings I've heard in a long time. [Zayas's] Hamburg Steinway was spectacularly recorded in 2007 by Tim Martyn of Phoenix Audio.
American Record Guide review of Juana Zayas's "Chopin & Liszt Works"

The multi-million dollar collection [of violins & violas] is stunningly recorded and ... will enable people watching it a hundred years from now to say "Oh, that's what they sounded like. Now I understand what all the fuss is about."
Gramophone review of James Ehnes's "Homage", May 2009  (DVD of the Month)

This is one of the finest and most present piano discs I've heard to date, rich and detailed without being overbearing or sacrificing lower dynamics, all faithfully captured by the audiophile recording.
Gramophone review of Dubravka Tomsic's "Liszt Recital", June 2003

Sonically this recording is attentive to detail which is not only audible but also beautifully shaped and engineered with style.
MusicWeb review of Chicago Symphony Orchestra "Romeo & Juliet", January 2015

Practically any CSO Resound recording is worth hearing, not only for the extraordinary clarity and depth of the audio, but most especially for the fine concert performances of the Chicago Symphony Orchestra, which almost never disappoint. This live 2013 recording by Riccardo Muti and the CSO of the suite from Sergei Prokofiev's ballet Romeo and Juliet is certainly a first-rate reading, and the energetic playing and vibrant sonorities come across with remarkable details and presence, thanks to the superb engineering. The delicate string effects that are laced through the orchestration are wonderfully executed, and the rounded tones of the woodwinds and the powerful brass give the recording a special timbral richness.  
Allmusic review of Prokofiev Romeo & Juliet Suite, Chicago Symphony Orchestra, Oct. 2014 (Blair Sanderson)

This is gorgeous music. It’s also a gorgeous recording, engineered by Tim Martyn at 24/96 with Grace preamps and A/D converters. Upshaw was covered by a Neumann microphone, the orchestras by Schoeps mikes in the main, with several spot mikes scattered here and there, though they were used only rarely and lightly.
Stereophile review of Maria Schneider's "Winter Morning Walks", May 2013. (Fred Kaplan)







It was terrific to have Tim Martyn and his team record my inaugural season as Music Director of the Baltimore Symphony. His recordings of our gala opening programs at the Music Center at Strathmore and at the Meyerhoff Concert Hall in Baltimore captured the thrill and excitement of the events and vividly portrayed the stellar performances by the musicians.
Marin Alsop, Music Director Baltimore Symphony Orchestra

I have known Tim Martyn's work for over thirty years. He succeeds in finding an amazing sound, one that is natural, warm and detailed. He is also very comfortable working with artists under the stress of the recording situation, and has a good sense of optimizing the performance in this unique environment. The Orpheus Chamber Orchestra looks forward to our next opportunity to work with Tim Martyn.
Jonathan Spitz, Artistic Coordinator of the Orpheus Chamber Orchestra

I have known and worked with Tim Martyn for the past 20 years and he is among the very best recording engineers with whom I’ve had the pleasure of collaborating. Attention to detail, technical skill, musicianship and the ability to work with others are all key elements in making a great recording engineer.  Tim has all of these qualities in abundance. They are matched by a supportive, positive and enthusiastic attitude which makes working with him a great experience.  
David Frost, sixteen-time GRAMMY Award winning producer

Tim Martyn and his team produced the first internationally released recording of the Tucson Symphony Orchestra.  The sound quality is remarkable!  We were faced with making a wonderful orchestra sound great in a mediocre concert hall, under live conditions.  The results are simply spectacular – warm, defined, refined.  The sound of our fine orchestra came through beautifully, and contributed enormously to the success of our disc.  The fantastic reviews were well deserved, and Tim's work performed a great service for the TSO.
George Hanson, Music Director Tucson Symphony Orchestra

Congratulations on the String Suite - absolutely stunning work. It is absolutely marvelous, the sound quality is brighter, cleaner, more beautiful than we had imagined possible, and the performance will not be rivaled.
Robert Craft, following the release of the Schoenberg String Suite on Naxos

Each of the four times I have had the privilege to work with Tim Martyn over the past decade I have considered it a true honor,  collaborations that resulted in the highest possible quality.  Tim always manages to bring out the very best from me and my ensembles.  His superb ears and technical mastery of the recording craft are equalled by his unfailing musical taste and enthusiastic, encouraging spirit.
Kenneth Dake, Organist, Marble Collegiate Church and Director of The Marble Choir

I have listened with great joy to the recording...knowing it is what it is largely because of your selfless commitment, your passion for quality, and your superhuman patience. It was an honor and a priviledge to have worked with you.
Violinist Nicolaj Znaider, following the release of his debut album on BMG Classics

A recording session with Tim Martyn and his team is a true celebration of music. Working around these fine people is an incredible treat, I wish I had another project to start with them right away. I might have to write one...
François Girard, Director of "The Red Violin", "Silk", "Boychoir"