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 Kyma Forum
 Confabulation
 Classical Recordings
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| Author | Topic: Classical Recordings |
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David McClain Member |
posted 06 March 2001 13:42
 
In my own research into hearing enhancement, it appears that many (most) classical music CD's have been recorded live with two or more mics. Whereas, more modern popular music is frequently recorded and mixed with numerous isolated tracks. I say this because in modern electronic music it is common for a sound to reside entirely in the L or R channel. But in classical CD's I find that there is already some of the L sound in the R channel and vice versa. Does anyone have direct knowledge about the mixing and recording of classical orchestras? The liner notes never say anything about these technical matters. - DM IP: Logged |
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pete Member |
posted 06 March 2001 19:55
Your right David but I think the reason for the different techneques go deeper than purely technical. In general with modern music is arrangment is put together piece meal and during the recording procces. Musicans will record each track seperatly and this means that if they make a mistake or the find something that would fit better, they can rewind and drop it in streight away without having to stop the whole band. clasical music tends to be arranged before hand by one person and the orchestra play through the music from start to finish in one take in one room and altogether. They do have more than two mics but the mics are positioned around different groops of instruments and hardly ever close miced. There is a lot of bleading between mics and the engineer has to be conciuos of Phase and canselation. Many classical musicans can play note perfect when the sheet music is handed to them for the first time, and I've even seen them reading the paper while waiting for thier next bit. They are used to one live conductor and they need that immediate interaction between him and each other and as such have to be in the same room. I hope that makes sence. pete IP: Logged |
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Gareth Whittock Member |
posted 07 March 2001 23:08
I remember taking a group of students around a large studio where they were about to record a symphony orchestra playing one of the Beethoven symphonies. One of the engineers showed us the arrays of mics set up for each section, as well as a pair of , (i think Schoeps) mics out front. We then went in to the control room where he explined about time delay compensation to obviate phasing problems between the varios sets of microphones. At the end he turned up the last two faders of the very large SSL desk and said with a grin 'but mostly we just use the stereo pair'  Does anyone have direct knowledge about the mixing and recording of classical orchestras? The liner notes never say anything about these technical matters. - DM[/B][/QUOTE] IP: Logged |
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David McClain Member |
posted 07 March 2001 23:55
Guys, I really appreciate your responses. I would love, someday, to witness this sort of thing myself. I can only dream about what it must be like from my little research studio here in the desert... Cheers, - DM IP: Logged |
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pete Member |
posted 08 March 2001 10:35
Gareth I was going to say exactly the same thing about engineers using just the stereo pair , but I thought I might get jumped on by the engineers who wanted to keep it a secret. IP: Logged |
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