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Recording orchestras

So in the first case the mike would capture the sound similar to the sound at the conductor's place? No one in the audience knows how it sounds at the conductor's position, and worse, no one in the audience knows how it sounds at a position above the front of the orchestra.

And in the second case the result is determined by what knobs the sound engineer turns and how he turns them, being similar to no position in the hall at all? No one knows how it sounds at this virtual position.

So what's the use of taking live concert as reference when no place in the audience is close to what the recording technique delivers?


Klaus


Edits: 10/26/10
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