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Requires minimalist stereo mic technique & perfect acoustics

12.73.206.23

When stereo first appeared in 1957, a number of people investigated stereo, Bell Labs, RCA, Western Electric. The techniques adopted for symphony orchestra largely settled on three equa-spaced omni directional mics across the front and maybe a stereo mic for a soloist. The techniques that Robert Fine and Lewis Layton among others used in the early era of stereo used minimal mixing because IMAGE and aural spacial cues can be messed up by mixing and processing. The channels have to stay separate and the audio engineer has to maintain this consistency throughout the recording process. Omni mics have the least amount of frequency sensitivity fall-off with degree offset. However they only work well in good acoustics that are not too long or not too short in reverb time. They also pick up everything in front and behind them; chair rustling, feet shuffling, the HVAC blower, musician page turning, birds chirping outside, wind howling outside. If you back the omni mics off from the group to get rid of some of these ill effects the ensemble starts to sound like they are in the next county. So it takes of lot of time investment of experimentation; different mics and their placement, bringing in deep valour drapes to cover seats, mirrors, flat wall surfaces to make a good recording that images depth. But simple/minimalist is much better than multi miking and mixing IMHO. Mixing is quick and dirty. Ray Hughes


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