"Eiron" wrote in message

Stewart Pinkerton wrote:

On Tue, 21 Mar 2006 13:09:44 +0200, "Iain Churches"
wrote:

I am glad that you regard the classical market as
quality, Andy. When I go to a classical mastering
session, I can reckon to be in and out in a couple of
hours. For a pop session one needs to take a sleeping
bag:-)

Perhaps because you simply have to *record* a classical
orchestra? With pop, you have to transform what they do
into something vaguely reminiscent of music - noise
gates, compresors, limiters, pitch shifters, multiple
track/take splicing etc etc etc. :-(

Not only that, but its far easier to record a great orchestra in a great
room with the best top-of-the-line equipment than try to squeeze an
acceptable-sounding recording out of a bunch of amateurs and semi-pros
working in a horrid-sounding room with inexpensive gear.

It's also easier when you have a major record company full of people doing
most of the dog work for you, and covering for you when you screw up.

But Iain has written many times recently that he doesn't
just record the sound of a classical performance. He's an artist and
chooses his microphones carefully to give the most
musical frequency response and distortion. The result is
even better than the real thing.

Obviously, at some point people lose track of what the real thing is.

Someone who just wanted to accurately record an orchestra
wouldn't have written:

...and just a touch of reverb to bring it to perfection.

Exactly. Thanks Eiron for the opportunity to watch Iain do his incredible
edible dissembling act, again.