[Peter Larsen[_3_]]

Hi Guys,

we have heard so much about what we all do wrong from the masters of the
abyss of ignorance. So here are some real world stereo recordings of
real musicians playing real instruments in a real room recorded in real
stereo:

Sejlund:

https://www.youtube.com/watch?v=ZFfDTLkTLtE

Soler:

https://www.youtube.com/watch?v=GYaWnRKPUlA

Bashmakov:

https://www.youtube.com/watch?v=X1ejLD9q6Vk

Bach:

https://www.youtube.com/watch?v=9LUJH6CHrIM

Vladigerov:

https://www.youtube.com/watch?v=rEXo1q5cQWg

Oervad:

https://www.youtube.com/watch?v=PW6P2IYJlEo

The ensemble is Duo Diagonal, harpsichord/accordeon and accordeon. The
location is Vedbaek Church. The event is Rudersdal Sommerkoncerter 2014.

Kind regards

Peter Larsen

[Angus Kerr]

On Wednesday, October 7, 2015 at 3:53:16 PM UTC+2, Peter Larsen wrote:
Hi Guys,

we have heard so much about what we all do wrong from the masters of the
abyss of ignorance. So here are some real world stereo recordings of
real musicians playing real instruments in a real room recorded in real
stereo:

-snip-

The ensemble is Duo Diagonal, harpsichord/accordeon and accordeon. The
location is Vedbaek Church. The event is Rudersdal Sommerkoncerter 2014.

Kind regards

Peter Larsen

Nice, Peter. Lot of room sound. Very unique combination of instruments.
I'd like to hear more of the harpsichord.

I'd love to one day actually use the room acoustic, instead of fighting to never hear it at all.

But overall, a good acoustic balance between the instruments, considering the accordian is a lot closer to the mics.

Care to share some technical details about what mics / etc. were used?

-Angus.

[[email protected]]

Peter Larsen wrote: "we have heard so much about what we all do wrong from
the masters of the abyss of ignorance"


It's not what the engineers are "doing wrong" - it's the ignorant
CLIENTS demands that force the engineers hand.

Nice examples by the way. Imagine hearing anything
on New York's Z-100 produced via the same technique
in similar circumstances. Would the m-asses accept it?

[Peter Larsen[_3_]]

On 07-10-2015 20:13, Angus Kerr wrote:

But overall, a good acoustic balance between the instruments,
considering the accordion is a lot closer to the mics.

That is the virtue of properly deployed omnis. A discreet setup was not
requsted per se, but asked for by the festival photographer, so I tried
that one for this concert and it ended up being my default for that
concert series of mostly small ensembles, even if at different locations.

Care to share some technical details about what mics / etc. were used?

AKG CK452EB with CK22 via custombuilt mic pre to R44 running free,
mastered in Audition3 and off axis compensation applied. I may or may
not have used a bit of camera audio for ambience, can't remember.

One camera at the organ and one on the floor at the rear of the church
for discretion. I have gotten less timid about deploying cameras, but
the simple setup ended up being quite right for the context, including
that a lot of technology in the audience view does not fit the musical
genre.

-Angus

Kind regards

Peter Larsen

[Peter Larsen[_3_]]

On 08-10-2015 01:42, wrote:

Peter Larsen wrote: "we have heard so much about what we all do wrong from
the masters of the abyss of ignorance"

It's not what the engineers are "doing wrong" - it's the ignorant
CLIENTS demands that force the engineers hand.

No. They get a palette of choices to choose between, but mostly the tech
menu is a single choice menu and the tech request is simple, we just
want them to trust us with their souls.

Nice examples by the way. Imagine hearing anything
on New York's Z-100 produced via the same technique
in similar circumstances. Would the m-asses accept it?

I don't know what Z-100 is.

I don't know what m-asses is.

So, I can not reply to that, but I am glad that you like the concert
excerpts, they are chosen by the ensemble.

Kind regards

Peter Larsen

[Angus Kerr]

On Thursday, October 8, 2015 at 6:17:25 AM UTC+2, Peter Larsen wrote:
On 07-10-2015 20:13, Angus Kerr wrote:

But overall, a good acoustic balance between the instruments,
considering the accordion is a lot closer to the mics.

That is the virtue of properly deployed omnis. A discreet setup was not
requsted per se, but asked for by the festival photographer, so I tried
that one for this concert and it ended up being my default for that
concert series of mostly small ensembles, even if at different locations.


I've almost never used omnis because I've never had the privilege of working in a room where the acoustic is actually worth capturing
I did figure from the audio that they were omnis... nice to know my ears are not deceiving me. I did notice that the imaging places the instruments mostly to the right...

Care to share some technical details about what mics / etc. were used?

AKG CK452EB with CK22 via custombuilt mic pre to R44 running free,
mastered in Audition3 and off axis compensation applied. I may or may
not have used a bit of camera audio for ambience, can't remember.

Sounds like a pretty decent chain. Pity that the youtube audio does not reveal the detail that I'm sure is there.

-Angus.

[[email protected]]

Peter Larsen: A little cultural lesson: Z-100(WHTZ FM) is a top
40 radio station in New York City, which millions of the 'masses
of asses', hence "m-asses" listen to.


As far as what engineers do vs what clients ask, I was told
on Gearslutz and other pro-audio private forums that
musicians and labels were mostly to blame for the poor
sound quality of mass market commercial releases because
of what they demand of the engineers(loudness being a priority).
They told me to "stop blaming mastering engineers who are
only doing their jobs".

[Luxey]

Cool stuff. My accordeon is gonna kill your mama.