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RE: Firebird...

Well, I've puzzled over this too. When Telarc did its first digital recordings, producer Robert Woods and sound engineer Jack Renner got most things right for classical recording. They copied the Mercury technique of minimalist 3-mike recording with wide open dynamics, no spot miking, and natural reverberation. They also chose the Soundstream digital recording process which was superior to the Sony system, which was adopted by most others. They also had a good understanding of the art of getting what they wanted to capture. In a sense it was the "perfect storm" with a positive outcome.

Telarc's first digital recording, The Cleveland Symphonic Winds, created a sensation. Yet I remember that Harry Pearson in TAS had reservations which he had difficulty articulating. Thus began the continuing discussion about the differences between digital and analog sound.

More than 30 years on engineers are still struggling to get it right. We now have much improved digital recording and playback with SACD and hi-rez downloading trying to fill the gap. At the same time there has been a mainstream trend to low-rez.

There are some good digital recordings out there, but certainly not in the numbers that I would have expected. I am frequently disappointed with new recordings. And when I listen to an old 2-track tape or one of the new Tape Project tapes, I shake my head and ask myself what happened.

Perfect storms don't come along very often.



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