"Arny Krueger" wrote in message
...
"Iain Churches" wrote in message


Most recordings are not made with all players present in
a single acoustic, and so a real A/B is not usually
possible.

This means that there are no comparisons in the sense that we do all the
time with ABX.

Correct. It is not possible to A/B between what you hear sitting in
the studio, and what you hear from the control room monitors, as
yuo cannot be in two places at once:-)

Conclusions are based on memories that lose most of their detail within a
few seconds.

It takes only seconds to walk from studio to control room.


All studio trainees get this opportunity for recordings
made straight stereo.

If you're multitracking single players or small groups, there's a pretty
good chance that many if not most tracks are mono.

Lots of stereo tracking, most keyboards, strings, brass, woodwind
and saxes. Stereo harp is wonderful too.

Typically, the studio is a relatively small, dead room and of course the
micing is close.

From where do you get that idea?
We used to play indoor rugby in Decca studio III.

This does not produce tracks that are accurate representations of what
one would usually hear if they were in the studio at the time of the
recording, as the sonic viewing point of the listener is vastly different
from that of the microphone.

In multitrack, especially in projects using outboard processing,
that is not imnportant. The sound as heard in the studio is only the
raw audio from which the finshed sound is crafted.

It's enormously useful and a very
interesting experience to sit out in the studio below and
slightly back from the main pair and just listen.

When multitracking this way, there is no main pair. Main pairs relate to
recording large ensembles with a combination of a main pair and spot mics.

I specifically excluded mulitrack in my previous post (the part which you
snipped) , when I stated:

**All studio trainees get this opportunity for recordings made straight
stereo. It's enormously useful and a very interesting experience to
sit out in the studio below and slightly back from the main pair and
just listen. When the take is completed you can go back to the
control room and hear the same performance from the monitors**

In fact, even in multitrack, many engineers use additional
distanced pairs, we call them air mics over here, for drums,
brass and of course for strings.

When the take is completed you can go back to the control room
and hear the same performance from the monitors.

When you listen to the monitors, the question is not whether the recording
sounds natural at this point, but whether it has any obvious flaws. Close
micing always produces a certain characteristic, essentually unnatural
sound that is up front, lacks natural reverb, may include a fair amount of
lower midrange boost due to proximity effect, etc.

Who said anything about close mic technique?
But a clean, close mic signal, with low leakage is a very good
place to start in many types of recording. Try it sometime, Arny


Regards
Iain