|
Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
|
|
|
Music Lane It's all about the music, dude! Sit down, relax and listen to some tunes. |
|
In Reply to: CDs that use 2 mic technique posted by bunni on December 13, 2006 at 12:27:37:
to the list!More?
Accent, Ars Nova, Harmonia Mundi / HMU, Sun Ra, any lable with that Spanish violista and his mobs and wife.
Late 50's, 60's and 70's Deccas aren't coincident-blumlein-stereo, no. But they are 3D nonetheless. e.g. ALL the Suisse Romand orch. sessions are amazing even on CD, and you can hear the gingerbeers learning curve happen over time, but that same hall is still the same hall.
mercury's are similar only in that they are fairly up-front sounding but the stereo is different. (Omnis!?)
Telarc initially use the same 3-spaced omnis across the stage but the 'height' is better.
3 medium spaced omnis on a big tall stand - known as the 'Decca christmas tree', and a rectangular array of omnis treated as stereo pairs, spots? only occasionally.
EMI almost always used a stereo main pair as do Philips do, and sometimes the spots were stereo too, some of the engineer producer teams are very famous, Parker, Suvi Raj Grubb.
Angel (EMI/USA) often used a stereo pair guy, for Giulini's Brahm's cycle.
stereo - plus time-delayed spots? Denon began this in the 80's and that Mahler cycle IS well recorded, > than one or two are even well regarded musically.
DGG's current 4D etc's, add to this by putting ADC's at EACH microphone, all balanced.
My difficulties with these ideas, are 2 and serious, to me.
1. They still use quite a few mono spots IIRC, not stereo prs, when 'balancing them in' would be far easier with stereo spots, AND more consistent for 2 or more listeners. This will cause 'jumping out at you', and it's opposite JBTW! JUST like wave cancellations in a pond!
2. Close miking alters timbre (from what audiences hear / distantish mic pairs too). I'm also fairly certain that they use mono spots for soloists, where stereo would be much easier to dial-in to the 3d space. And timbre as we hear it is mostly in the attack/starting transient time window, and in the decay time window. No timbre isn't mostly in the continuous tone.
For us at a concert, and for distantish main-mikes these two time windows include some early reflections, for where we or the mikes are and where each source of notes is, in the sound space.
So even with a stereo impression close up miking will not sound the same timbrally as the main pair nor will the orthoganal hall-sound!
I don't know enough about Philips, I think it's not a house-technique* company, but they generally seem to care about imaging enough 'to keep the mix less obvious' at their worst. All Gardiner's stuff with Philips is reported to be very well engineered.
I would note that Philips '*standard' monitoring set-up for classical used Quad 63's with Celestion 6000 subs, later bigger Quads probably 2905's from NOW on!?. PLUS lotsa diffsorber kit for teeny-tiny control rooms. So 3D errors would be highlighted, at least.
Another big advantage of 'real stereo' recordings is that your room-spkr-listener set-up can only improve, so the ROI is higher, even on all that MMPPMono 'rubbish' {;~)} !!
one more company/label. Sadly, DGG especially Arkiv are sometimes so obviously over-engineered that the muisc making suffers, JMO and YMMV.
WarmestTimbo in Oz
The Skyptical Mensurer and Audio Scrounger'Still not saluting.'
Read about and view system at:
http://www.theanalogdept.com/tim_bailey.htm
This post is made possible by the generous support of people like you and our sponsors:
Follow Ups
- add Hyperion label, and Tony Faulkiner as engineer - Timbo in Oz 14:04:33 12/20/06 (1)
- Philips and the '63 as monitor - Timbo in Oz 15:45:28 12/20/06 (0)
Top of Page ]
[ Contact Us ]
[ Support/Wish List ]
[ Copyright © 2024, Audio Asylum, all rights reserved ]