[Scott Dorsey]

In article , wrote:

I agree you can't get a perfect recording, but I want to hear as closely as possible what
the compser heard in his mind when he wrote it down. I don't think he was hearing blowers
and guitar squeaks and such as part of his work, any more than the pops and clicks of a scratchy
old LP record.

Talcum powder will fix those string squeaks with less effort than CEDAR....

Room acoustics are a reality and have to be seriously addressed, especially for a live performance.
I don't know if close-miking or careful placements of several mics gives a performance or recording
closer to what the composer envisioned, but I'm in favor of whichever does.

It goes beyond that. Some people like to sit in the balcony, some people like
to stand right up in the conductor's podium. Which is the "correct" sound
that the conductor would like?

"Mozart says play it like this... doot, doot, doot. He's dead now. Play
it legato." -- Isaac Stern

Brahms would have -loved- orchestral overdubs and spot miking. Blow that
bass up until it's fifty feet wide and stretched across the room! Beethoven
likely would not have approved of the same thing. Problem is, we can't
be sure, because they're dead now.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."