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

Posted by vahe@flash.net (A) on March 25, 2007 at 10:31:34

In Reply to: Telarc's secret was learned from Robert Fine and Wilma Cozart-Fine: posted by Teresa on March 24, 2007 at 17:59:57:

A couple of comment on your comments, and thanks for commenting on my comments.
I got into hi fi just as 78’s were losing market to the LP’s, that makes me an old fart, that said lets take one record CO. lets start with RCA, in the 50’s they were recording Toscanini with NBC orchestra in that dreaded studio 8H, they essentially produced telephone booth ambience, the worst possible sound that was ever recorded my mankind, but strangely that same RCA a few years later recorded Reiner and Munch and produced some of the finest orchestral sound ever recorded.
Back to Telarc, my main point with the Telarc sound is that regardless of what they are recording the technique remains the same, that’s where I see the problem, I have tons of Telarc CD’s, I love their orchestral sound when it comes to Aaron Copeland or Stravinsky, but here in front of me there is a recording of Bruckner Sym no.6 with Cincinnati Sym Orch. Cobos conducting, to me the sound of this recording is painfully dry and totally inappropriate for this particular music.
Anton Bruckner spent most of his life in cathedrals, his music is written for performance in cathedral type spaces with vast interiors and the appropriate reverberation. Bruckner has many “abrupt” pauses in his music which are intended to let the reverberation die before the next episode begins.
Now, listen to me, the recording producer need to know a thing or two before recording this particular composer, with this particular Bruckner 6th Telarc proves that they know or care nothing about these all important issues.

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