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The Tale of Two Recordings
- Thread starter Mike
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Very interesting. Several years ago I was visiting Fantasy Studios in Berkeley, and they were telling me about how they used to do recordings - with all the musicians in the same studio, playing together. They typically did long takes, although some takes were edited when the take was good, but there was some boo-boo, so the mistake was edited out from material from another take. They then told me about a more recent recording where there were half a dozen musicians on the recording. None of the musicians were together in the studio, but each one was in a different recording venue, as I remember, a couple were even on different continents. They each sent in their track (digital, of course) which were they combined together with a very sophisticated digital mixer to create the tracks that were eventually on the album.
Listening on systems that resolves well spatially, I can often here the different acoustical spaces for different instruments. This can even happen where the recordings were made with all the musicians in the same room playing together, but each on a separate mike recorded to multiple tracks. I think it is easiest to hear when specific instruments are panned to be relocated in a different part of the ensemble, or artificially boosted in volume, so the acoustic space around them is also boosted.
Clearly, it is impossible for almost any classical music to have musicians mail in their parts. Imagine each member of a symphony orchestra recording his or her part of a symphony and then sending it in to be mixed with the other 100 members of the orchestra with the conductor serving as the mixing engineer.
Larry
Listening on systems that resolves well spatially, I can often here the different acoustical spaces for different instruments. This can even happen where the recordings were made with all the musicians in the same room playing together, but each on a separate mike recorded to multiple tracks. I think it is easiest to hear when specific instruments are panned to be relocated in a different part of the ensemble, or artificially boosted in volume, so the acoustic space around them is also boosted.
Clearly, it is impossible for almost any classical music to have musicians mail in their parts. Imagine each member of a symphony orchestra recording his or her part of a symphony and then sending it in to be mixed with the other 100 members of the orchestra with the conductor serving as the mixing engineer.
Larry