Post by Peter October 8, 2009 (21 of 24)
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Edvin said:
I suppose so. The piece is for three bands. One on stage, one surround and one marching band. Plus many things to hit.
Did I read somewhere this is an intended BR release? I may be imagining it.
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Post by Martha November 8, 2009 (22 of 24)
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Claude said:
BTW, recording in a neutral studio and then adding virtual acoustics to the recording (presumed to reflect the acoustics of different historic venues) seems nonsense to me. The only thing missing is Zenph's robot playing the pianoforte emulating Haydn's touch ;-)
Greetings and salutations, Claude, Peter, members of the forum.
Good to read that you are discussing The Virtual Haydn here. I see that we need to clarify one important point regarding this production. We are not "recording in a neutral studio and then adding virtual acoustics" afterwards!!! That would be nonsense indeed.
The virtual acoustics is activated DURING Tom Beghin's performance of the works in the acoustically dry lab, making it possible for the musician to interact with the acoustics of the virtual room as if he was actually playing in that room. The acoustic impulse characteristics of each room has been sampled beforehand. During the recording Tom Beghin plays and with the help of advanced convolution technology he immediately hears the acoustic response of the room. Each of ten music programs has a different combination of keyboard instrument and room. The performer reacts to each acoustics differently and he adjusts his performance to what he hears, in the same way as he would have done if he had been playing in that room.
Please visit the website for more details: http://www.music.mcgill.ca/thevirtualhaydn/
I can assure you that this is not some abstract exercise lead by technological gimmick. The Virtual Haydn is as valid artistically as any other high level recording project. The use of virtual acoustics does not make it any less valuable! I invite you to listen and to judge by yourselves.
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Post by Lochiel November 9, 2009 (23 of 24)
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Martha said:
Greetings and salutations, Claude, Peter, members of the forum.
Good to read that you are discussing The Virtual Haydn here. I see that we need to clarify one important point regarding this production. We are not "recording in a neutral studio and then adding virtual acoustics" afterwards!!! That would be nonsense indeed.
The virtual acoustics is activated DURING Tom Beghin's performance of the works in the acoustically dry lab, making it possible for the musician to interact with the acoustics of the virtual room as if he was actually playing in that room. The acoustic impulse characteristics of each room has been sampled beforehand. During the recording Tom Beghin plays and with the help of advanced convolution technology he immediately hears the acoustic response of the room. Each of ten music programs has a different combination of keyboard instrument and room. The performer reacts to each acoustics differently and he adjusts his performance to what he hears, in the same way as he would have done if he had been playing in that room.
Please visit the website for more details: http://www.music.mcgill.ca/thevirtualhaydn/
I can assure you that this is not some abstract exercise lead by technological gimmick. The Virtual Haydn is as valid artistically as any other high level recording project. The use of virtual acoustics does not make it any less valuable! I invite you to listen and to judge by yourselves.
Martha,
Thank you for more clearly explain how this recording was accomplished. I think this is fascinating stuff and intend to purchase this box. Will there be other projects similar in nature?
If you are looking for suggestions ans titles, I'd like to propose some Liszt piano - preferably some things that are not so ubiquitous. We don't need another Sonata in B, for example - but how about the Album d'un Voyager?
What other types of music do you intend to record this way?
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Post by Martha November 15, 2009 (24 of 24)
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Lochiel said:
What other types of music do you intend to record this way?
For the time being there are no plans to record any other projects in virtual acoustics. At present the technical complexity and the system cost required for a recording like The Virtual Haydn are still very high but we can expect that these will be reduced in time. This project was made possible with the support of various funding agencies in Canada. No record label would have been able to finance such a complex project that involves years and years of work on such a variety of fields like music performance, musicological scholarship, the reconstruction of the keyboard instruments, advanced audio research and technology, music recording and production in high-definition multichannel and the preparation of a documentary film. The outcome of these combined efforts of many people constitute the BD release on Naxos.
I believe this needs to be seen as a one-off little jewel in the world of music recording!
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