mlsstl wrote: 
> I'll have to mildly disagree. If the problem had never made it past
> American Idol, I wouldn't know of its existence. I've even found some
> classical records that suffer from the problem -- for example, I think
> the Emerson Quartet's Mendelssohn recordings and Olga Kern's Brahms
> Variations are too closely miked. The liner notes for the Emerson
> Quartet recordings point out that 14 mikes were used to record a string
> quartet! 
> 
> Plenty of modern jazz, folk and other recordings suffer from this issue,
> though perhaps not as glaringly as the material marketed to teenagers.
> I've worked a lot with Adobe Audition over the years and there is a good
> match between what one sees visually on a track and what one hears. More
> than once I've seen a modern drum track where there is absolute
> uniformity in the peak volume of drum strikes. In older recordings that
> type of track would have a natural variation in loudness that sounded
> less in-your-face and, well, more natural. 
> 
> Just like any other fad, popular trends end up affecting everything. The
> audio world is not immune from that behavior. It's just ironic that the
> more headroom our music formats give, the less that is used.

Excessively close miking has been a problem in some classical and jazz
recordings, but if I understand this correctly, it's a different issue
from that of the loudness wars. Just downloaded Mozart's clarinet and
horn quintets with the old city quartet +, which is a bad example of
wonderfully clear but horribly closed miking, in the most glaring 24/96
fashion. This is not new in chamber music, as shown by most recordings
emanating from the old Philips studio of La Chaux de Fonds, the greatest
performances marred by the poorest of microphone choices. The old
Quartetto Italiano recordings come to mind.

In general, though, jazz and classical recordings are mostly immune from
the excesses of compression that are so prevalent in pop music.

Guido F.


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