[Audio_Empire[_2_]]

On Sunday, August 4, 2013 12:40:30 PM UTC-7, Scott wrote:
On Sunday, August 4, 2013 6:16:57 AM UTC-7, Audio_Empire wrote:

On Saturday, August 3, 2013 6:52:42 AM UTC-7, Robert Peirce wrote:

In article ,

Audio_Empire wrote:

For instance, you can't use pop/rock to test for image
specificity, because being multitrack and multi-miked with all instruments

I'm told you can hear that on a good system. I don't listen critically
enough to know for sure.

I'd say that you CAN'T hear that because it doesn't exist with
pan-potted positioning of instruments. Of course, if the rock
producer specifies an overall stereo pair of mikes in addition to
the multi-mike, multi-channel-mono practices that are the norm, then

you might hear it. But I don't know of any rock recordings that were
recorded that way. Does anyone else know? I would love to find out.

You can say it but it isn't true. I have many pop/rock albums that
offer stunningly vivid imaging with sound stages that extend well past
the speakers and offer loads of depth as well as width and give the
instruments a tremendous sense of size and palpability. So you CAN
hear that with the right pop/rock recordings.

So you are saying that these recordings were recorded stereophonically?
Permit me to doubt. Why would anyone do that? There is no commercial
reason to do that. The larger audience for this material doesn't care about
things like that, and all producers care about is air play and sales.

When you say you don't know of any rock recordings that use stereo
pairs of microphones I just have to ask, what pop/rock recordings are
you so familiar with that you can tell us just how they were recorded?

Because I take Pro Audio Magazine and read articles about how various recordings are
made perhaps? Possibly because I was involved in a number of these recordings when I worked
for Coast Recorders or Wally Heider back in the 70's and 80's as a recording engineer?