--- Anthony Hind <[EMAIL PROTECTED]> wrote:
 
> Over the last two years, one evening a month, I have
> had the good  
> fortune of being able to hear Renaissance and
> Baroque instruments in  
> the context of a Parisian "salon" 

Good for you - how fortunate you are to hear these
instruments in the right environment!  Unfortunately
for most, however, hearing lute performances in a
room, as opposed to a hall, remains the exception.


> There just does not seem to be enough detail
> and micro-dynamics  
> to be able to clearly hear the very special response
> of gut strings,  
> or any other strings for that matter. Indeed, it is
> rare to be able  
> to hear the micro-dynamics of the slightly rasping
> attack or the  
> crucial timing of the slowly dying note on a CD 

MP3 or CD, much of the problem comes from recording
with the mic too far away.  Too many recordings of
solo lute music of extremely intimate character are
recorded in cathedrals with the closest microphone
being six feet away and other mics set up to capture
the ambient sound of the hall.

This applies to _way_ too many professional
recordings.  During the session, it might be
gratifying for the performer to indulge in the fantasy
of having become a pipe organ, but ultimately this is
at cross-purposes with the music itself.  I agree with
you, Anthony, in wanting to hear every scratch, scrape
and rub - _that's_ a lute sound to me.

The ideal way to get this is by recording in a modern
studio with at least one mic fairly close to the
instrument.  This isn't quite as sexy as putting
"Recorded at St. John of the Massive Apocalyptic Final
Judgement Gothic Cathedral" on the album cover, but
there's only so much you can get from a signal coming
out of your speakers.  You can either have "big" or a
detailed, not both.


Chris



 
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