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From Perotin to Prokofiev (and beyond), performed by Caruso to Khatia, it's all here.

Despite all that, the interesting thing here is that. . .

. . . you're hearing excessive brightness on many recordings whereas it seems most of the rest of us here are not.

Your comment about the number of microphones and their distance from the orchestra seems very relevant to me. Recording engineers have the means to place microphones in more ideal locations (where I could never be seated as a listener!) - and I appreciate that! As a young listener, I grew up on the close-in, minimally-microphoned Mercury Living Presence recordings, and I suppose that's shaped my expectations of music. Unless I'm sitting in rows 5-7, I tend to be disappointed with the sound of live concerts!

Also, I don't agree with your point about violins swamping the rest of the instruments in modern orchestras: the other instruments have also acquired more capability in volume projection over the years, so that, IMHO, they're the ones who often swamp the strings (especially in repertoire like the Bruckner symphonies!). Also, acoustically, when you go from your example of 12 violins to 18 violins, you're not increasing the total violin volume nearly as much as most people think you might be. Have you ever seen one of those concerts where an organization's youth orchestra sits and plays side by side with the main (adult) orchestra for a concert? Is the volume twice as loud? Certainly not in my experience - what I found instead was that the overall tone quality improved (despite the more ratty instruments which the kids tended to have!).

Excessive tonal brightness is a very interesting subject, and there seem to be so many factors which contribute to our individual perceptions of it. ;-)


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