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In Reply to: RE: Keyboards and microphone placement for recordings... posted by SE on July 04, 2021 at 09:07:47
What recordings do you (and other inmates here) feel have a particularly fine proportion of direct and reflected sound?
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is the early digital (c. 1983) recording of "Pictures at an Exhibition" with Jacques Rouvier on Denon. In terms of sound quality alone, it's quite the opposite of most piano recordings in that it places you at some distance from the instrument, as if you were listening from, say, halfway back in a nice concert hall. It's really uncanny how it sounds like there's a real piano out there between your speakers (as opposed to the 10-foot-wide, up-close sound of most piano recordings). And yet it isn't overly reverberant or barn-like. Oh, and the performance ain't half bad, either!
Russell
. . . and IIRC also had a couple of students who did well. I had a couple of his Denon Debussy albums. And I love all the Denon recordings of Irina Mejoueva, but I don't recall the microphones sounding far away. Also, there's Wolf Lady Helene Grimaud's Rachmaninoff recital on Denon (made when she was 15) - her high-water mark as an artist! It's been all downhill from there for her ever since! ;-)
In general, I think Denon got a very good sound on their own piano recordings. (I think they also licensed some which weren't as good IMHO.)
Yep, Rouvier's Debussy recordings on Denon are worthy, too, but the sound quality, while good, doesn't have anywhere near the realism of the Mussorgsky.
Russell
...than Eudora records. Some of Gonzalo Noque's recent solo piano recordings sound so right and natural. The recent Chopin/Lizst from Josep Colom is fantastic in performance and sound.
This was a viola/piano recital album (in DSD256 MCh rather than stereo - but with almost nothing in the surround channels!). I had an email exchange with the owner of the company (Gonzalo) about his philosophy of recording: he doesn't believe much in the surround and center channels of MCh recordings. So even if you get the MCh incarnations of his albums, there's very little difference between those and the stereo incarnations! ;-)
Still, it did sound very good, and the performances were good too. (BTW, the violist is in the BPO.)
...as well as many of their other releases. I saw and enjoyed your review. :-) Too bad about the multichannel sound. The stereo incarnations are fabulous.
. . . I can bring the level up pretty well now on this recording. Maybe if I'd had this amp when I wrote the review, I might not even have mentioned the level on the surround channels! ;-)
It struck me that I have never heard a guitar concerto live. The recordings of guitar concertos that come to mind are pretty closely miked - what is ideal for a live performance of a guitar concerto?
A couple of videos with Miloš Karadaglić in guitar concerto recording sessions. Many microphones for the guitar, and they seem to re-record the guitar track separately.
Edits: 07/11/21
When I've played in the Orch for Aranjuez and another Spanish Guitar Concerto,
the Guitar was Amplified.
You just can't hear it otherwise.
The Balance , even tho they are small Orchs, is difficult.
I have attended a live guitar concerto performance, under as ideal conditions as one could hope for. It was the Rodrigo Fantasia para un gentilhombre, performed in the Green Room of the San Francisco War Memorial. The room is about 60ft x 30ft. It was a small orchestra, about a dozen musicians and the guitar was unamplified. I sat in front, no more than 10ft from the soloist.
Despite the ideal conditions, whenever the orchestra came in with even a soft tutti, it would overwhelm the sound of the guitar. I think a microphone would need to be extremely close, or a pickup directly on the guitar.
whether others, like me, discern a recent regrettable trend toward "soupy" recording, as exemplified by, to name but one, Paul Lewis playing Schubert?
Jeremy
Nojima's Ravel and Liszt albums are great performances and recordings. Sounds like being close to the piano in a recital hall. Easy to discern the various voices, layers and textures in the Ravel Miroirs.
Reference also has a good set of Rameau harpsichord performed by Albert Fuller. Similar perspective as the Nojima albums. Nice mix of harpsichord and hall ambience.
Another nice harpsichord recording is the Couperin livres performed by Kenneth Gilbert on Harmonia Mundi.
I like the Chopin and Liszt recordings by Ashkenazy on Decca/London. They have incredible dynamics and get the brass and sparkle of the piano. Must be close miked, not much hall ambience.
Enjoy the music.
old venue, wicked acoustics -- a very unique recording.
The name of the label is almost ironic. It is James Boyk's personal label for recordings of him on solo piano. IMO Boyk was one of the best recording engineers for acoustic music and piano in particular that we have ever seen(heard). I can't think of any recordings off the top of my head that *sound* better than his for solo piano. The irony is that I am not a fan of his playing.
...some hair-raising fidelity of mostly less than interesting works.
. . . there's a recording of the Liszt Sonata and the Chopin Sonata No. 3 on the Mapleshade label - and, as you say, it's recorded extremely well. The pianist, Alan Gampel, was someone I accompanied in a couple of local concerto competitions some years ago - I think he plays very well on this recording (using a Faz), but then, I might be biased! ;-)
One thing that was amusing when I accompanied him (in the Tchaikovsky Concerto) was that, at that time (mid-80's?) he hadn't heard of Martha Argerich. (BTW, on the link below, you have to scroll down to get to the English.)
themes getting tossed back and forth.
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