Oh heavens! You mean that people can somehow get enough cues from the recording that they can get a sense of the size of the venue and its ambience? It’s all a trick I tell you! Those damn recording engineers put that crap in there! It’s not real I tell you! It’s a figment of your imagination and all of your friends that heard it. At least that is what someone on this forum has tried to convince us of.
I may have missed that thread. Verticality is a challenge for conventional stereo, but breadth and sense of distance from the listener are a cinch, particularly when done this well. There's actually a nice bit of text on the cardboard cover of the recording explaining the recording engineer's challenge, as Belafonte was wandering all over the stage, and was singing with a number of different ensembles, from small intimate orchestra to the entire hall joining in. The sum creates a wonderful sense of space.
Was very lucky with my copy of Belafonte/Carnegie. Unused until it reached me!
Here is something else I have noted and I wonder if others have heard it too. On digital music that was sourced from analog tape (which is tons of music) and you can hear the very low-level analog tape hiss in quiet parts of the music, it doesn't sound like tape hiss does in real life from a real tape playing on a R2R deck. And maybe that makes sense because digital's distortion goes up as the recording level goes down. Anyway, it doesn't sound 'right.' Tape hiss heard on an LP sounds like real tape hiss though.
I may have missed that thread. Verticality is a challenge for conventional stereo, but breadth and sense of distance from the listener are a cinch, particularly when done this well. There's actually a nice bit of text on the cardboard cover of the recording explaining the recording engineer's challenge, as Belafonte was wandering all over the stage, and was singing with a number of different ensembles, from small intimate orchestra to the entire hall joining in. The sum creates a wonderful sense of space.
Was very lucky with my copy of Belafonte/Carnegie. Unused until it reached me!
You probably didn't miss the thread, soundproof. You probably just missed the hyperbolic snarky interpretation of what it means to say that most live recordings don't actually capture the distance from the listener, they capture the performers up close, where good recording can happen, they capture ambient information (hall reverb) out in the hall, the sometimes capture crowd noise with another set of microphones to add to the illusion, and they mix it all together in post production. I'd be quite surprised if that's not the way the Belefonte recording was made as well.
Reality seems to really anger some people around here.
You probably didn't miss the thread, soundproof. You probably just missed the hyperbolic snarky interpretation of what it means to say that most live recordings don't actually capture the distance from the listener, they capture the performers up close, where good recording can happen, they capture ambient information (hall reverb) out in the hall, the sometimes capture crowd noise with another set of microphones to add to the illusion, and they mix it all together in post production. I'd be quite surprised if that's not the way the Belefonte recording was made as well.
Reality seems to really anger some people around here.
The reality Tim is that you have not yet answered ONE single question posed to you; all you do is take this parochial attitude to everything. It's clear so far that you haven't done the research to understand the milking techniques involved in these recordings! I asked you this before and you sidestepped it like everything else in this thread. Riddle me this Sherlock? How does a pair of stereo crossed mikes eg. Blumlein technique do it? Hmmmppphhhh.....Or haven't you ever heard a Blumlein miked recording?
You probably didn't miss the thread, soundproof. You probably just missed the hyperbolic snarky interpretation of what it means to say that most live recordings don't actually capture the distance from the listener, they capture the performers up close, where good recording can happen, they capture ambient information (hall reverb) out in the hall, the sometimes capture crowd noise with another set of microphones to add to the illusion, and they mix it all together in post production. I'd be quite surprised if that's not the way the Belefonte recording was made as well.
Reality seems to really anger some people around here.
In my experience, not very well if you're trying to capture the "distance to the listener," possibly very well if the distance to the microphones is much closer than a normal listening position in most halls (again, see what Barry Diamet is doing). But this dramatically changes the ratio of direct to reflected sound...and your "capture" of the hall ambience, necessitating other techniques to create that feel, and that's all this dead horse is about.
Myles, could you put me on ignore now? Do so and as soon as I realize you are no longer responding to my posts, I'll stop reading yours.
Good afternoon, gentlemen. I'd like to once again remind the members of some of the WBF terms of service.
2. Cordial participation is a key requisite of being a member in our forum. If in our opinion you are violating this rule, administrative action may be taken which may include termination of your membership and deletion of your posts with or without notice.
6. Please do not attempt to moderate the forum on your own. If you see objectionable posts, please report them. We will deal with them. Above all, focus on the topic being discussed, rather than the person discussing it.
That said, thread closed. Let's keep up the spirited discussions but let's also leave out any posts [or even part of posts] that are directed at somebody. In other words, discuss the body of the post, not the poster. Thank you for your cooperation.
it is a nice hiss-ing!
