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A recording revolution or back to basics?
|Posted on March 30, 2020 at 15:06:25|
Joined: January 13, 2015
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"
Written by Frans de Rond
|RE: A recording revolution or back to basics?, posted on March 30, 2020 at 15:55:40|
Distributor or Rep
Joined: March 8, 2001
|I like the sound of late 50s Bop and Hard Bop recordings from Hackensack NJ.|
|RE: A recording revolution or back to basics?, posted on March 31, 2020 at 13:03:41|
Joined: November 22, 2003
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.
|RE: A recording revolution or back to basics?, posted on June 14, 2020 at 18:48:48|
Location: New York
Joined: November 2, 2012
Since: December 0, 0000
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.