Well, my new "y-tubings" of very variable quality certainly cannot hide anything! ;-) The Zoom O3 hears everything and I play in very dry acoustics...
Is it really true that people "y-tubing" - and especially our "lute heroes" making CD's - really add artificial reverb and other machine generated effects to their canned performances? Perhaps that explains something? Just a thought... ;-) Arto On Mon, 15 Mar 2010 22:50:47 -0400, "Roman Turovsky" <[email protected]> wrote: > But the reverb hides the imperfections so effectively.................. > RT > > ----- Original Message ----- > From: <[email protected]> > To: <[email protected]>; <[email protected]> > Sent: Monday, March 15, 2010 10:46 PM > Subject: [LUTE] Re: Modern lute recordings > > > Ned, > > You're not alone at all. I'm in complete agreement with you. It seems > to me that the ideal place to record a lute of all instruments, is a > controlled environment like a recording studio where a touch of reverb can > be added if wanted. The long decay of a cavernous cathedral might feel > good > for the player, but its a very un-HIP place to find a solo lute. I would > love to turn down the reverb on nearly all my recordings. > > Chris > > --- On Mon, 3/15/10, [email protected] <[email protected]> wrote: > >> From: [email protected] <[email protected]> >> Subject: [LUTE] Modern lute recordings >> To: [email protected] >> Date: Monday, March 15, 2010, 9:10 PM >> Looking on youtube >> for a video of the Earl of Essex Galliard the other >> night, I came across one by Elizabeth >> Brown. A fine player, but sounds >> I never heard from a lute live. I >> wondered what her recording engineer >> was thinking. But then I remembered >> that "her" sound was not >> completely unlike what I hear on many >> lute CDs, and it occurs to me >> that today's recording engineers >> generally have an odd concept of what >> a lute should sound like. >> Primarily, they seem to think it should >> sound BIG and with the oodles of reverb - >> as if heard from many feet >> away in a large and empty >> catherdral. Harmonia Mundi records Paul >> O'Dette this way, as do ECM and Naxos >> Nigel North, Naive Hopkinson >> Smith, and (not as exaggeratedly) >> Hyperion Elizabeth Kenny. >> >> >> >> Going into my vinyl collection I found >> that in the past, both Nonesuch >> and Astree did a much more natural job >> with Paul O'Dette, Edition Open >> Window is wonderful with Jurgen >> Hubscher (and Alfred Gross), and Decca >> always gave Joe Iadone and Chris Williams >> a natural sound. >> >> >> >> So, my appeal is to recording engineers: >> go into a medium size - or >> even fairly large - room with a lutenist >> sometime and listen to the >> sound he/she produces. Then >> forget recording in churches or >> cathedrals and by all means leave all >> electronic 'enhanements' out of >> the recording chain. >> >> >> >> Am I alone in this view? >> >> >> >> Ned >> >> -- >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >> > > > > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
