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Timbo - what are some good coincident stereo symphonic recordings?

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Chris from Lafayette

A

In Reply to: RE: I much prefer the coherence and clarity of the Decca productions. posted by Timbo in Oz on July 05, 2012 at 16:29:36

Personally, I know of only two: the LA Philharmonic Sheffield recordings with Leinsdorf. I've always found the Water Lily symphonic recordings problematical. There's a lot less room for error with coincident microphone recordings - or so it would seem.

BTW, I think I like the Mercury spaced-omni recordings quite a bit more than you do, but I like the early Decca/London recordings too.

Follow Ups:

Chesky, Kimber? Hyperion esp. those where Tony Faulkner was engineer - Timbo in Oz 00:53:05 07/06/12 (2)
LSO Live are mostly TF's work. TF does use spots sometimes.
HMU mostly, Alia Vox, Accent (Haydn's Seasons - old but good).
Many live concert broadcasts are simply miked. But FM in USA is pretty dire. It can't have gotten better since '97 and '98 when I was in Frisco and in 'Bawlmoor.'
I'll soon - I hope* - be recording for our local Artsound FM at 'classical' events. They use ORTF arrays and DAT, to which I'd like to add an omni under each cardiod, but needs a 4-track DAT / hard disk machine. This helps with bass and hall sound.
I'm also hoping to afford to buy a single capsule coincident mike, ideally one switchable between Mid-Side (M-S)#, as well as L & R.
#Mid-side produces a L-R and a L+R (mono) signal which can be de-matrixed just like FM is, and can give more or less hall sound / more distant or closer in post production / editing to stereo ( L & R ).
Very commonly used to feed direct into an FM transmitter, mono into the 19kHz carrie and L-R into the 38kHz carrier (which JBTW, is really more like an AM SingleSideBand transmission). Just one of the reason why good (directional) antennas matter for FM stereo.
Mid-side is the basis for single capsule Sound-Field mikes. As used by Nimbus for the recordings of the Hanover Band.
* Tummy troubles which we hope are just worsening side-effects of my current medications which my system is getting too used to. I'll be having tests - starting Monday.

Note that a post in response is preferred.

Warmest

Timothy Bailey

The Skyptical Mensurer and Audio Scrounger

And gladly would he learn and gladly teach - Chaucer. ;-)!

'Still not saluting.'

Edits: 07/06/12
- Thanks, Timbo - the only Chesky CD's I have. . . - Chris from Lafayette 09:30:11 07/06/12 (1)
  . . . are the Kenneth Wilkinson engineered recordings originally done for Reader's Digest, which, although excellent, I thought were not "pure" coincident stereo. As for Kimber, I thought those recordings featured the isomike recording process, which I would also not describe as coincident stereo. I also remember reading an interview with Tony Faulkner where he mentioned AFAIR that he also used spot mikes in addition to his basic stereo set-up. In any case, I'm with those in the post further below who find Hyperion recordings quite variable in quality - especially when it comes to orchestral works. Regarding Harmonia Mundi, I'll have to check that out - I must say that their large orchestral recordings do not sound minimally miked to me, but I could be wrong. Basically, I'm looking for "pure" coincident stereo recordings of large orchestral forces - with no "helper" mikes. BTW, I've heard that some of the early EMI stereo recordings were recorded in just this way, and I have an idea about some of them (the Markevitch Nutcracker Suite, for instance, now on Testament, and I think I read a reference to the Cantelli Brahms Third, also now on Testament - I haven't heard it myself), but it would be nice to know for sure.
  - RE: Wilkinson engineering for Reader's Digest - desertorganist 21:42:53 08/04/12 (0)
    I grew up with some of the Reader's Digest sets, and acquired a few more in recent years. When I found out that Wilkinson was the engineer for the European-recorded classical sets, a lot of things fell into place. They had never sounded like RCA's house sound; the soundstage was too "hemispherical" for lack of a better description, and placement was too precise. In fact, the sound is basically Decca sound. Same thing with the European recordings that RCA issued in their Soria series. Even on a different label, they sound like Decca recordings.
RE: Timbo - what are some good coincident stereo symphonic recordings? - ahendler 20:35:47 07/05/12 (1)
The Deccas are not coincident microphone recordings. See my above post
Alan
- Right - I realize that - Chris from Lafayette 22:35:05 07/05/12 (0)
  I was wondering about coincident microphone recordings in general.

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