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Telarc's secret was learned from Robert Fine and Wilma Cozart-Fine:

Posted by Teresa on March 24, 2007 at 17:59:57

In Reply to: Re: Parvi Dvorak 9th-Telarc "House Sound"? posted by vahe@flash.net on March 24, 2007 at 08:19:08:

Hang the mic's high from the ceiling and a ways back from the orchestra to give the sounds waves (especially the bass) plenty of room to expand.

A good example is a drum kit, major labels set up mic's in front of all the drums and inside the bass drum creating sound in your face and muffled. But most audiophile companies will use just a single mic for a drum kit and about 15-30 feet in front of the kit. That is the secret to Telarc's and Reference Recording's big bass drum whacks, they both give the bass the correct distance to expand the waveform so it is gigantic in the listening room.

While I agree that Telarc's sound is very clear, with all instruments of the orchestra clearly audible and positioned in the right place on the perceived soundstage, I will even agree in the many of Telarc CD versions the sound can be dry, I do not agree Telarc has a clinical sound. Nor do I agree that Telarc CDs are on average dryer than any other CDs.

Also on most European "Digital" orchestral recordings I have tried they are extrememly dry especially the string tone, and lacking in hall reverberation. The only European orchestral recordings I have heard that are warm and rich in hall ambiance are the Decca and Lyrita recordings from mid-1950's to the mid-1970's. Especially on LP and 7 1/2 IPS Reel to Reel.

Of the SACDs I heard that are warm and rich in ambiance I can only think of Telarc, Mercury Living Presence, RCA Living Stereo, The David Chesky Concertos, and the first three BIS Greig SACDs. But the warmest and most alive sound I have ever heard short of analog is the Telarc SACDs and that is in two channel. Dry no way!

On my system Telarc SACDs are extremely warm, realistic and project a large stereo soundstage. In my humble opinion the major record labels in both Europe and the USA forgot how to record an orchestra after 1975! Can’t RCA, Decca and EMI listen to the recordings of the golden age to relearn how to make realistic recordings? Short of doing that the major labels should pick up a few Telarc’s to hear how realistic a “recorded” orchestra can sound.

"Music is love"
Teresa

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