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In Reply to: RE: Yes! I want to hear hall ambiance on a recording too! posted by Chris from Lafayette on March 07, 2017 at 11:08:55
Those early mercurys, rca's and Deccas all used omni directional mikes that picked up hall ambience
Of course, there ARE smaller enterprises which DO record that way, such as the original recordings offered by HDTT, which benefit from John Proffitt's purist approach to engineering. BTW, John's clear and insightful review of Gerd Schaller's completion of Bruckner's Ninth (originally appearing in The Bruckner Journal for the Bruckner Society of America) has been reposted today on the Music Web International site (link below). Also, I owe everyone a posting about HDTT's latest multi-channel offering (Strauss's Alpensinfonie coupled with Mozart's Wind Sinfonia Concertante) once again recorded by John in a beautifully purist fashion.
I'm guessing that much like my friend, most artists these days evaluate their recordings while on the road using digital files downloaded onto their Ipads and other mobile devices. I'm guessing that they are listening for other aspects of the recording. The advantage of modeern multi miked recordings is they offer greater flexibility in post to adjust the sort of things the artists care about. we audiophiles who sit and listen to recordings in a dedicated lsietning room with a proper stereo or multi channel set up are the rare bread these days. we are the ones who notice hall ambience and actually care about it. I have talked about SQ with my musician friends many times and the typical audiophile things never ever come up. They talk about the wetness and dryness of the hall, the sound of musical instruments. The tone of certain msuicians, the sound of pianos, the talents of piano technitions etc etc.
I had the privilidge of going the Venezuala with Yuja when she recorded her concertos with Dudamel and the Simon Bolivar Orchestra. I got to hang out with the last remaining staff producer at DG and the recording engineer. I picked their brains quite a bit. Things like hall ambience were clearly very very low on the list of priorities. In fact it was an undesirable. This hall sucked and the audiences were beyond noisy. The talk was much more about getting the wood winds to balance with the piano and the rest of the orchestra and getting the piano to sound good so Yuja could play the pieces the way she wanted to and with the sound she expects from a well built properly tweeked Steinway. The production team did a lot to get lemonaide out of a lemon for a concert hall and piano. A lot of that magic happened in post. You can't do nearly as much to please the interested parties using minimalist recording techniques. I think it's about priorities, flexibility and pleasing artists who are evaluating these things using ear buds.
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