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In Reply to: RE: Some of the best multi-mic'd recordings... posted by Robert C. Lang on July 01, 2009 at 14:56:19
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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