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It's all about the music, dude! Sit down, relax and listen to some tunes.

You're welcome

I would guess that the transition away from pure coincident miking occurred gradually through the 1960s. I've never seen any documentation about this. Certainly by the 1970s Palmer's recording style was much different, more similar to what RCA, Decca/London, and Mercury had done.

The early Kempe recordings from Europe and released on Capitol are coincident recordings. I don't know the Firkusny/Susskind recording, but other Susskind recordings were done in coincident miking and released on Angel.

I know of one Hollywood Capitol recording that was done with coincident miking. The liner notes describe it. It's Capitol SP 8484 called "The Cello Galaxy" dating from around 1958/59. It includes the Bachianas Brasileiras No. 1 and No. 5 with Felix Slatkin. The notes call the technique "Emisonic," but otherwise the setup was exactly what Palmer wrote. However, in No. 5 the soprano soloist Marni Nixon was allocated a third microphone that was blended in. So already there was some "cheating." The Hollywood String Quartet made only one stereo recording. It may have been a coincident recording, since both Slatkin and his wife Eleanor Aller appear on both recordings.

Sorry you tangled with REG. I've heard him speak live several times and don't always agree with him. I linked his website because he lays out the pros and cons of the different miking arrangements. I don't know of any other post 1990 coincident recordings. I have the Water Lily Mahler recording and tend more toward your point of view.

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