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Lobos-Cobos Bruckner

Posted by Michael Bishop (P) on March 25, 2007 at 14:58:32

In Reply to: Re: Telarc's secret was learned from Robert Fine and Wilma Cozart-Fine: posted by vahe@flash.net on March 25, 2007 at 10:31:34:

Cincinnati Music Hall had gone through a major remodeling/refinishing just prior to the Lobos-Cobos Bruckner session. In addition, the Maestro had commissioned a new shell structure, risers, and acoustic materials, all to the detriment of the sound of Music Hall, IMO. There was little we could do to make Music Hall sound like a cathedral or even close to it. The hall had become very unforgiving, but that's what we had to work with. The Maestro wanted a very direct, immediate sound. Sometimes you just have to roll with the punches... In the sessions and years since, with work, we've made the hall sound much better than what we had at that particular point.

My recording technique is NEVER the same from one session to the next. There are far too many variables in repertoire, acoustics, orchestra instrumentation & layout, temperature & weather conditions, etc. to think that "one size fits all." It never does. There are similarities, but lots of changes and adjustments at each and every session. Additionally, I don't do anything the same now that I was doing just a year ago. Recording music is an evolutionary process, and just like the musicians, we're always making changes along the way.

I'm sure you have no idea of the amount of session preparation before we're anywhere near the recording session. It would be impossible to effectively produce a full-blown orchestra session (costing more than $300/minute) without extensive planning and preparation for the piece at hand.

Best Regards,

Michael Bishop
Recording Engineer

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