On Fri, 20 Mar 2015, Chuck wrote:
I have long criticized classical for being the worst recordings on the
planet. They put a couple microphones 50 feet from the performers and
call that a recording. It is the consequent room noise that keeps the
markers from being set properly. Classical recorded in Hollywood for
movies uses close mic'ing and is vastly superior to most orchestra and
chamber recordings. Hollywood's material comes out fine.
It's artificial; it doesn't sound like it does in the concert hall at all.
The point of the two-mic method is to record exactly what a real person
with two ears would hear in the hall. Multi-tracked, mixed-down recordings
made like pop songs don't sound like they're anywhere; it's the Boston
Symphony Orchestra in a black anechoic chamber in orbit around the fifth
moon of Jupiter. Beethoven would not approve.
And there is just zero excuse for hearing things like fingernail clicks
in Maria Pires' piano recordings--you don't hear that in Aimee Mann's or
Cat Stevens' piano work.
Well, real people have fingernails. Not, mind you, that Ms. Mann or Mr.
Islam aren't real people too; but popular music is as much
post-production as performance, and that's not supposed to be the case
with classical.
I take it you haven't run across Glenn Gould yet :-)
Rob
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