I got it right, but I admit I was helped by knowing who conducted the
other three extracts: I immediately recognised Norrington and Reiner,
and the choice between the other two was reasonably easy. For me the
give-aways were the solo clarinet sound and the almost too "perfect"
balance, with the clarinet always seeming to keep the same
relationship to the strings. On a second hearing I listened more to
the strings and find that they sound too regular.
It's amusing that Mr Liptak thought Norrington's interpretation was
the computer one.
On 5 May 2007, at 20:37, Darcy James Argue wrote:
http://online.wsj.com/article/SB117832128175492832.html?
mod=hps_us_at_glance_pursuits
Apparently, the dean of composition at Eastman and the Dean of
Music Technology at Berklee couldn't.
I spotted the sample-based mockup within the first second, but
that's probably because I spend so much time working with GPO that
I'm attuned to the "giveaways" inherent in any kind of sample-based
playback.
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