Music Lane

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

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

RE: Have heard the 3 and 8...

Posted by johngladneyproffitt on January 5, 2017 at 21:33:07:
3 was not my recording, but rather an informal "Konzertmitschnitt" that was released by Gramola after the fact. I was engaged the following summer 2014 to record 8 in 5.0 surround and summer 2015 to record 9 -- both of those are out now on Gramola SACD. I recorded 6 in summer 2016, and it is scheduled for release in a few weeks. This coming August we will record 5 and in 2017, Symphony 7. These are the only Bruckner symphony recordings recorded in the Basilika of St Florian and intended from the start as high-res surround sound. A few video productions (Cleveland Orchestra) done in the Basilika have multichannel soundtracks derived from a multi-miced TV production (Video producers hate to se mics in their camera shots, thus the resort to many closely spaced mics for the sound pickup.), but do not sound either realistic or very coherent, IMO. Opinions on this vary, of course. My recordings use just 5 omnidirectional Neumann condenser mics, carefully placed, which feed individually and directly into each of 5 inputs on the digital recorder. No EQ, no signal modification whatsoever.