"Iain Churches" wrote in message
...

"Mike Coatham" wrote in message
...
On 16/02/2010 11:20 a.m., Keith G wrote:
snip

"The analogy even extends to the recordings. In early 1953, Paray and
the DSO cut their first records for Mercury, which had startled the
hi-fi world in 1951 with the unprecedented clarity and musicality of an
acclaimed series of albums using a single microphone and no
equalization, filtering, mixing or compression.

Isn't that basically what Dave Plowman stated in regard to single
microphone recordings of big bands?? Which (if I also recall
correctly)was immediately poo poo'd by God's gift to recording
engineers -
Mr Churches and supported by your good self?
I could be wrong, ..... (snip)

Yes. You are wrong, in that you are trying to compare
two totally different genres requiring very different
recording techniques. You cannot compare single
mic classical recordings of Paray/Detroit Symphony
in mono,


Iain, that is a 'stereo' recording, but quite *how* stereo I wouldn't like
to say: all I can say is that it is clear and detailed and the point made
about the deliberately clear direction 'for stereo' is very well
demonstrated.



If you listen to the finest live or studio big band
recordings from the mid fifties onwards, Ellington,
Basie, Kenton,Woody Herman Ted Heath etc,
(Ellington At Newport 1956 is a perfect example)
you will find they are all multi mic. Ask yourself
why, if a simple pair alone would suffice.



A very good point well made - if only the 'lurkers' would think a little
before they swung in on the latest rope the likes of Anus and his Pooch had
set up for them!

I think where it all starts to go wrong is the ludicrous concept that
relentless yapping (shouting down?) about recording by one or two here could
possibly establish them as having greater expertise than genuine, working
recording professionals who are probably totally unaware of the existence
this pathetic little viper's nest, much less bothered about what's said
here!!