"David Kennedy" wrote in message
o.uk...
Iain Churches wrote:
"David wrote in
message
o.uk...

People have become accustomed to effects of every kind. There is very
little straight recording these days.

That is certainly true of pop music, where first impressions of a studio
are often based upon number of outboard racks full of equipment, and
not by the skill of the personnel involved in the recording.

The above said, I would tend to disagree with your assertion on
a broader basis. Most classical recordings (large and small)
are made "straight", and with as few mics as possible to achieve
the desired sound. There is more interest in the "purist" approach
now than there has even been.

I haven't done or seen any orchestral recording now for over 15 years so
am not up to date with present methods. As of the late 80s and early 90s
there was a trend to try to see just how many mics you could use.

That trend had started much earlier in the 50s and 60s in fact, with
multimic
recording straight stereo.

After all, what's the point in having a 48 channel board if you can't max
it out?

I have worked at live gigs and given and taken feeds to/from FOH
mixers who seem to be unable to resist the temptation to use 20 mics
too many. There are however, some applications where multi-mic
is a must. Horses for courses.

Iain