On Jul 6, 9:18 am, "Norman M. Schwartz" wrote:
"Don Pearce" wrote in message
...
On Fri, 6 Jul 2007 04:13:29 -0700, "William Sommerwerck"
wrote:
IMHO the best way to get a good classical recording is to use a good
hall to make the recording and put the microphones on the right place.
I couldn't agree more. I'd also like to start a campaign against the
complete swamping of almost every recording of "early" music with
reverberation, as if (a) we'd not realise it was early music unless this
big audio sign was up saying "this is early music, listen to the reverb"
and (b) all pre-baroque music was played and listened to in vast
cathedrals and caverns...
Again, this is off-topic, but it needs a response.
It's not just the "early music" that's swamped in reverb -- most
recordings
of the music of any era has added reverb.
I've felt for some years that we're not hearing early (and Baroque) music
properly, because this added reverb audibly "contradicts" the acoustics of
the relatively small spaces in which these works were performed. (I'm not
talking about the Vespers of 1610, okay?)
I've always had the impression that when a recording is swamped with
reverb either the playing wasn't very good or the producer/engineer
didn't really understand what he was recording.
My feelings on all acounts. So the more important question is how to get the
reverb OUT of all these recordings, rather than add more.
d
--
Pearce Consulting
http://www.pearce.uk.com
You have jogged my memory back to the fifties (those fabulous fifties)
when a buddy of mine had a spring reverb unit in his car. Every time
we drove over railroad tracks there was a huge blang. It was very
dynamic, but not at all like a concert hall.