Post by pacwin January 6, 2012 (1 of 234)
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Post by hiredfox January 6, 2012 (3 of 234)
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We are assured this one is 96/24.
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Just heard the tail end of the 2nd Symphony from this disc on Minnesota Classical Public Radio. Can't say much about it other than I stopped working for a moment as I heard something rather nice on the radio. The host stated what it was afterward and I was pleased to find out that it was from this disc I've been anticipating for a while. The only other time I've heard this symphony was in concert with the Minnesota Orchestra. Can't wait for the SACD!
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Post by AmonRa January 6, 2012 (5 of 234)
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No minimal miking here! Wonder how many tracks BIS runs during these sessions and how on earth can they place the spot mikes correctly and believably in MCH signal? Almost every woodwind player has a personal microphone.
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AmonRa said:
No minimal miking here! Wonder how many tracks BIS runs during these sessions and how on earth can they place the spot mikes correctly and believably in MCH signal? Almost every woodwind player has a personal microphone.
Yep, I would wonder this, too. That BIS uses many mikes is easy to detect from the 'house sound'; and it remains a wonder to me that most still manage to sound so good.
Sounds like a recipe for total time/phase domain incoherence to me.
But it does goes to show that multi-miking, done sensitively, can work well. See the MTT Mahlers, for instance, and much of Prof Johnson's stuff.
But I still wonder what this - and other modern BIS recordings - would sound like if the engineers threw away half of the spot mikes - or maybe all of them...
Well, I suppose we'll never know the answer to that one. But at least we can get a clue from some of the older BIS recordings, which I suspect tended to use rather less mikes.
I'm sure Bissie will correct me if this is not so!
Anyway, I wonder when this one will become available? I'm rather looking forward to it, and the Litton Firebird. Not a peep from either, yet, though.
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Post by bissie January 6, 2012 (7 of 234)
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Jonalogic said:
Yep, I would wonder this, too. That BIS uses many mikes is easy to detect from the 'house sound'; and it remains a wonder to me that most still manage to sound so good.
Sounds like a recipe for total time/phase domain incoherence to me.
But it does goes to show that multi-miking, done sensitively, can work well. See the MTT Mahlers, for instance, and much of Prof Johnson's stuff.
But I still wonder what this - and other modern BIS recordings - would sound like if the engineers threw away half of the spot mikes - or maybe all of them...
Well, I suppose we'll never know the answer to that one. But at least we can get a clue from some of the older BIS recordings, which I suspect tended to use rather less mikes.
I'm sure Bissie will correct me if this is not so!
Anyway, I wonder when this one will become available? I'm rather looking forward to it, and the Litton Firebird. Not a peep from either, yet, though.
The time-phase question can be worked around by way of delays.
You see, the time that we get to record in the States (and many places elsewhere) is so embarrassingly short that the result in many places is almost tantamount to a live performance. Therefore we have to take any chance available in correcting minor mistakes in the mixing/editing. Multi-miking helps that, but you're right, it has to be done by an expert.
Yes, it is absolutely true, earlier records use much fewer mics - and much worse editing systems as well. The way to get really good results anyway is to have access to a recording schedule that goes on for M-U-C-H longer than what the top orchestras can give today - and especially in the States, where every minute of session costs more than my gold teeth. Earlier I could have up to a week's recording with 2 sessions a day for a CD, but that's a thing of the past, I'm afraid.
The Sibelius is on its way to the US, Germany, BeneLux, for starters. It recently came to us. The Firebird is one month older, so should really be available anywhere. The UK is the slowest of all my distributors - they work after different principles.
Robert
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Post by tream January 6, 2012 (8 of 234)
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Jonalogic said:
But it does goes to show that multi-miking, done sensitively, can work well. See the MTT Mahlers, for instance, and much of Prof Johnson's stuff.
Agreed, and also to my surprise. I was present at many of the MTT Mahler concerts that were recorded, and the sound on the recordings captures what I heard live extremely well. There were many mikes......just goes to show there are many roads to Rome....
Tom
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Post by tailspn January 6, 2012 (9 of 234)
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Jonalogic said:
But it does goes to show that multi-miking, done sensitively, can work well. See the MTT Mahlers, for instance, and much of Prof Johnson's stuff.
Everything in life is filled with compromises, especially recording sessions. And everyone has in their minds ear as to what sounds best/realistic. The two you cite I believe would be very much at contrast to the Pentatone Music for a Time of War, or the large orchestra recordings of Channel Classics. If you're interested, A/B them, and see what you think. Listen particularly for the coherence of space.
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Post by tailspn January 6, 2012 (10 of 234)
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Jonalogic said:
But I still wonder what this - and other modern BIS recordings - would sound like if the engineers threw away half of the spot mikes - or maybe all of them...
They would sound like a Telarc recording.
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