Post by Beagle May 25, 2013 (1 of 6)
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Castor,
Thank you for your review and especially for its emphasis on one-per-part ensemble. But special thanks for reminding me that I already have Bach: Violin Concertos - Podger, Brecon Baroque! We are listening to that disc right now, and it is perfect soul-uplifting stuff for a thunder-showery day in May.
Beagle on the Rock
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Post by tailspn May 25, 2013 (2 of 6)
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Rachel
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Post by tailspn August 31, 2013 (3 of 6)
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Here's a very interesting video on this recording:
http://www.youtube.com/watch?feature=player_embedded&v=arNHbK3ctRE
I had the pleasure of attending the succeeding Rachel Podger recording in Haarlem NL (from which the above picture was taken) for the forth coming solo violin album. The people, and flavor of the time are exactly as shown in this video.
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Post by Fugue August 31, 2013 (4 of 6)
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Thanks for the link. I'd like to see some footage of the actual editing process--how they cut between various takes. I guess that can also kill the illusion of a seamless performance, but it would still be interesting! In my engineering days, I had to edit analog tape with a China marker and a razor blade (plus a jig to hold the tape steady and make a perfect 45 degree cut!). I'm sure Bissie can relate... :-)
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Post by tailspn August 31, 2013 (5 of 6)
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For Jared's Channel Classics releases, it's very straight forward, since the mix and balance were already done at the session in analog. He uses a Pyramix DAW, which assembles the various Takes along a time line with waveform graphics. You position the In and Out Markers to lift out the desired segment on one clip/Take, and splice it into the In Out Marker positions of the primary Take. Pretty standard stuff. The unique part is all the content remains unaltered DSD except for that 45 degree cut interval, the crossfade, which is processed in DXD.
The advantage of Jared's post production editing process is that there's no dilution of the DSD transparency with post processing level/balance adjustments. Those adjustments were done with a custom mixer and mic pres in analog before the Grimm AD1 DSD digitizing process.
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Post by Chris September 1, 2013 (6 of 6)
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tailspn said:
For Jared's Channel Classics releases, it's very straight forward, since the mix and balance were already done at the session in analog. He uses a Pyramix DAW, which assembles the various Takes along a time line with waveform graphics. You position the In and Out Markers to lift out the desired segment on one clip/Take, and splice it into the In Out Marker positions of the primary Take. Pretty standard stuff. The unique part is all the content remains unaltered DSD except for that 45 degree cut interval, the crossfade, which is processed in DXD.
The advantage of Jared's post production editing process is that there's no dilution of the DSD transparency with post processing level/balance adjustments. Those adjustments were done with a custom mixer and mic pres in analog before the Grimm AD1 DSD digitizing process.
After having played Harmonia Mundi's 24/44.1 pcm recording of Beethoven's Violin Concerto at midnight last night,I just had to play Rachel Podger's CC Haydn/Mozart Concerts SACD to "clean my ears" and get a truer feeling of how a violin really sounds before going to sleep.
No offence or critique against Isabelle Faust as such,she is also a wonderful violinist and I love Beethoven's Violin Concerto.
I have heard her live and she is very good.
But the low res 44.1 sampling with jumbled truncated harmonics and very close miking of the violin on the HM sounded really artificial compared to the sweet and clear and very rich and beautiful tone of Podger's violin ripe with natural harmonics as captured by Jared.
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