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The benefits of One-Microphone versus Multi-Microphone recordings.
I am a big fan of the Sound Liaison One microphone recordings, only problem is that after having listened to one of these completely phase coherent recordings every other recording somehow sounds artificial afterwards!
This text is from the Sound Liaison website; "Sound Liaison.com"
"In order to avoid the phase artifacts I decided to make a number of recordings using only one stereo microphone: the magnificent Josephson 700s.
I did not use any kind of separation so that the musicians could clearly hear each other.
In a sense when recording with one microphone the mix is done before I press record.
I have to make the complete sound stage on the spot by carefully moving each instrument closer or further away as well as left and right in relationship to the microphone.
Listening to the results of this approach the advantages are obvious; phase coherence, perfect imaging, great sense of depth and superior realism.
Another advantage is that it forces the band being recorded to really play. There is nowhere to hide, no fixing it in the mix, it's now or never.
The reactions of the musicians are overwhelming. Bass player Clemens van der Feen said: "I never heard my bass like this before on any recording. Finally it sounds the way I always wanted".
Joe Whip wrote a 5 star review of our four "One Microphone Recording" albums on audiophile style "
Written by Frans de Rond
They do sound incredible. However, there is one problem. It is limited to specific single-take recording sessions, limited by the type of music, size of the musical group, the acoustics of the venue, and where you can place the microphone, and a host of other logistical issues. It demands much more work (and engineering knowledge) than placing multiple microphones.
I made a multi-track recording of myself playing some Bach, rocked up. I used a Josephson as well. I made separate tracks in a cathedral of a acoustic Harpsichord, Hammond B3, Moog Modular, Minimoog (basslines) and a Yamaha drum kit. Didn't move the mic and just tracked each part separately. So I had to setup all the sound producing parts in the physical location I wanted them in the recorded soundfield. The drums in the "center-back" the Hammond's leslie to the left, the modular synth playback system to the right, the bass synth amp centered-front, with the Harpsichord in the middle of everything. It sounded good, but I ran into issues with the multiple reverberant fields combining in a mix. Each track sounded great, but the reverb fields were causing strange additive effects when mixed, so it was in that regard a failed experiment. It still sounds pretty cool though.
I have the Carmen Gomes Inc. recording in DXD. My main issue with it is that it handcuffs the musicians, and limits the kind of music that can be played. And besides that I really can't stand her voice.
From a technical listening perspective though it does sound superb. Every now and then I'll put it on, listen through a song or two and turn it off.
Give me Melody Gardot, Samantha Fish, or countless other female vocalists any day.
I like the sound of late 50s Bop and Hard Bop recordings from Hackensack NJ.
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