"David Looser" wrote in message
...
"Iain Churches" wrote

The objectives in recording are totally different.

I don't buy it.

Perhaps you have never really considered
what the difference inrequirements and objectives
might be. See below (Clip included)

In big band recording, the objective is to record a
close up hard hitting image (listen to Buddy Rich)
In classical recording the objective is to record a
performance set back in its acoustic environment.
Two totally different techniques are required, which
is why since the fifties up to the present day, the finest
big band recordings have been multi mic, and the
finest classical recordings are made with pairs, or
trees often with outriggers.


What sort of "classical" are you talking about here? Plainsong or
Gershwin?, Bach or Wagner?

I am talking about the excellent Paray/DSO recordings
for Mercury, as mentioned by theOP. But as far as
classical recording is concerned, one can apply
the same basic pair or tree techniques to anything from
a Bach work for solo cembalo to a Wagner opera.

If you are suggesting that Big Bands require a different
technique how can you lump all of those very different
styles together?

I am not "suggesting". It is well known, and the difference
in requirement is the reason why all good big band recordings
are multi mic. The recording objectives, and the expectation
of the listener are totally different to classical recording.

Take a listen to this typical straighforward 1960's
clip, and then consider the following three simple
requirements. How, with your stereo pair, are you
going to split the saxophones, add cross-over reverb,
and use a short pre-delay on the trombone reverb
when the producer, the client, the conductor and the
arranger all ask you to do so?)

http://www.kolumbus.fi/iain.churches...dExample01.mp3


And as you yourself have said so often a recording studio doesn't
really have an "accoustic environment".

It doesn't have an acoustic enviroment you can hear
on recording due to the common use of acoustic
screens, which give a high level of separation and
prevent acoustic leakage mic to mic which would
otherwise be present. Also various sections of the
recording rhythm, brass and string sections. may
be made in different studios.

As far as I am aware the vast
majority of studio recordings of classical music use multi-miking, and
have done for many years.

Your statement is incorrect on both counts.

If you look at the inlay or sleeve notes, you
will find that very few classsical recordings
involving a full symphony orchestra, (especially
large works with full percussion, double ww and chorus)
are made in studios. Most are recorded in outside
locations, with pairs or trees, and not multi-mic
(in the true sense of close section or close spot mics)
as can plainly be heard.

In contrast, good big band recordings, if they are not
concerts, are usually made in studios, and invariably
close multi-mic. Again, reference to inlay cards,
sleeve notes, session pics, and careful listening will
confirm this.

Regards
Iain