"Iain Churches" wrote in message
...

"Keith G" wrote in message
...

"Iain Churches" wrote


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 posted a link in my previous post to illustrate
the point. Up to now, David seems to find it
impossible to accept that the technical requirements
and listener expectations for a big band recording
are totally different to a classical project.

This is understandable.

Talking about it, and actually doing it to meet the
requirements of professional producers, clients,
musicians, and discerning listeners are two very
different things:-)



Exactly. For ages, the Googlers, cut & pasters and yappers here banked on
no-one with actual *hands on* turning up....

"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??



No idea, I don't see his posts unless 'quoted'.

('Single microphone recording'? - I thought I was the only person on the
planet recording *mono*!)


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, but I'm sure you'll be able to clarify one way or
another .


I've no idea what you are referring to - maybe summat about 'big bands' if
it was Iain? - Which are a different kettle of fish to 'orchestral'; their
typical 'single line-up' layout is significantly different to the layout of
orchestras and ensembles and there is usually the need to bring instruments
forward for featured solo or section parts in the music - all of which is
better served by multi-miking, I gather.

You appear to have not seen my 'two mics/two speakers/two ears' remarks a
while back, or even any of the comments I've made when I have said I am not
even much of a fan of 'stereo' - especially if/when it involves 20 foot wide
pianos and guitar or violin soloists hopping backwards and forwards from
speaker to speaker? No?

You appear also to have not seen any of my remarks about my preference for
the pre-digital and often pre-solid state *natural sound* of stuff from the
50s/60s/70s and very early 80s, the 'Slavics' Melodiya, Supraphon and
Hungaroton, in particular - all of which will almost certainly have been
recorded with simple mic pairs or very nearly as sparse setups like the 3
mic Mercury 'Living Presence' recording I was referring to?

What you *do* appear to have seen is a lot of bleating from the recently
collapsed netbully Anus about 'Iain and Kitty and Bill' - which is a shame
because it demonstrates yet again that you 'floating voters' (the lurkers
that Pucci denies exist) are incapable of assessing situations clearly for
yourselves, which explains how you have all been so easily herded around and
told what to think for so long!

Those that didn't say ****it and simply leave, that is....

Reminds me I've seen a lot of BS from certain quarters recently that make a
big deal about their 'stereo' worship rercodings whilst banging on at great
length about desks, faders &c. &c. and how particular sliders 'fit their
hands nicely' &c....??

;-)