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


"Arny Krueger" wrote in message
...
"Andy Evans" wrote in
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Naxos is reportedly moving away from SACD and
concentrating on plain old vanilla CDs.

Sounds like a good idea.

Is this typical of the industry?

Word has it that DVD-A is dying and only Sony's deep pockets are keeping
SACD afloat. Remember beta?

I remember at the time that many people in broadcast and duplicating
thought that Beta was superior. In fact there were some companies
using Beta for local ENG.

How are the masters normally recorded
these days in the classical music world - 96/24 or what?

Probably. But, so what?

Yes. 96/24, probably without exception. To allow what
Tony Griffiths describes as "professional headroom" :-))

I cite the classical market as being 'quality sound' so
it would be interesting to know where all this is going
in the short term (and indeed the medium/long term).

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. :-(
--

Stewart Pinkerton | Music is Art - Audio is Engineering

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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. :-(

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.

Someone who just wanted to accurately record an orchestra wouldn't have written:
...and just a touch of reverb to bring it to perfection.

--
Eiron

There's something scary about stupidity made coherent - Tom Stoppard.

"Eiron" wrote in message
...

Someone who just wanted to accurately record an orchestra wouldn't have
written:
...and just a touch of reverb to bring it to perfection.

Please re-read what I wrote. This was in relation to recording a vocal on a
multitrack session, Eiron, and nothing to do with recording an orchestra.

Hopefully you appreciate the difference:-)
regards
Iain

"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.

On Wed, 22 Mar 2006 09:00:52 +0000, Eiron wrote:

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. :-(

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.

Someone who just wanted to accurately record an orchestra wouldn't have written:
...and just a touch of reverb to bring it to perfection.

Quite so. :-)

Churches is indeed an artist, and his preferred medium appears to be
liquid biological waste.........
--

Stewart Pinkerton | Music is Art - Audio is Engineering

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"Stewart Pinkerton" wrote in message
...
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. :-(
--


Yes indeed. Pop recording sessions can be spread over
weeks, or months. But we are talking about mastering here.

All the magic you mention above should have taken place at track
level long before the mastering process:-)

But making a SRC digital clone is not a service for which
they can charge you a lot. But when they start tweaking,
and the hands of the clock start to spin instead of turn,
they are making some *real* money:-)

Iain