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In Reply to: RE: If you want a Pentatone SACD that sounds more like a Telarc SACD. . . posted by Chris from Lafayette on July 01, 2009 at 12:46:40
...were made by Denon in the late 80's early 90's. They employed a digital delay technique that was intended to sync the sound of the spot mics with the main mic array in order to eliminate/minimize phase distortions. The result was a much more coherent and natural-sounding orchestral soundstage with plenty of detail but where that detail didn't stand out as it can in most multi-mic'd recordings. The Inbal/Mahler series is an example of this technique. I found the sound of those CD's to be excellent (the performances not so much - hence I don't have them anymore). I wish I would have kept at least one so I could listen again after these many years since their release.
I have most of the Inbal Mahler series, the most successful of the set is the M5, both performance and the audio, the others are low key interpretations.
I find considerable variation in sound quality of these Denon CD’s, the Berlioz Requiem is one of the dullest performances by anyone accompanied by an exceptionally dim recording.
Vahe
Was this the Inbal/Mahler series recorded at the Old Opera House in Frankfurt? If so, I have a couple of these.
Actually, the *very* first CD I purchased was a Denon Mahler (not the series you have referred to) that I bought in 1982 (that's right, before the official 1983 launch in the US).
I have to pull them out; I have forgotten what they sound like.
Robert C. Lang
From Gramophone, April 1987 on Sym 6:
Denon explain in the accompanying booklet that their preference for simple two-microphone recording has been relaxed in this case because of the large orchestra. Spot-microphones were used to capture the celesta, whips, cowbells, etc. To obviate the loss of a natural time relationship in how one hears the sound, a method has been employed whereby the time lag between signals has been corrected by delaying the output from the spot-microphones by an amount corresponding to the distance between the main microphones and the spots. It sounds alarming, but it seems to work. There is copious indexing, I am glad to report, but the type is so microscopic you could easily miss it. M.K.
From Stereophile, August 1993 on Sym 10:
The FSRO sounds, if anything, better than it did in Symphonies 1-9/Das Lied, and Denon's standard-setting minimal miking of Frankfurt's Alte Oper has as much limpid, liquid clarity and convincing sense of space and orchestra as the best of that cycle. Chailly's over-produced London recording provides a telling contrast: the famous funereal drumbeats that close the fourth and open the fifth movements are juiced-up, multimikedly false—they caused my Vandersteen 2Cis' woofers to bottom out, which has never happened before at this volume with any recording, including many speaker-killing "audiophile" discs. On the Denon CD, this same instrument, whacked just as soundly, sounds loud and powerful, moving a good bit of air—but also sounds perfectly natural, lacking any trace of exaggerated boom. This is also the most exhaustively indexed and annotated recording I have ever seen—a true boon to musicologists and Mahler scholars. Thanks, Denon.
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