Subject: Re: Mastering EA was French Touch
From: Dominique Bassal (firstname.lastname@example.org)
Date: Sat Oct 29 2005 - 12:20:13 EDT
Le 05-10-29, à 11:25, Michael Gogins a écrit :
> Yet for that very reason, like you, I would fear a situation where
> producers or engineers assumed more responsibility for the sound. I
> think this has definitely had a deadening effect on musical creativity
> everywhere it has happened. With classical acoustical instruments the
> engineer transmits or very modestly enhances the sound which was
> created by an instrument builder and a deeply schooled performer,
This is only true for a few exceptional situations where the
instruments and the room acoustics are a nearly perfect match. It also
corresponds to the "quality image" that the classical industry wants to
project. But for the everyday experience of the classical recordist,
one can read in "Théorie et pratique de la prise de son stéréophonique"
quite funny passages where the author describes the huge corrections he
often have to make, without the musicians or producer ever knowing it,
in order to have usable results. He even suggests precisely how to
mimick button manipulation to "satisfy" an unjustified request.
Elsewhere (I think it's John Eargle, in a classical recording industry
list), you learn that a good part of the "natural ambiance" that you
hear in the surround channels of classical 5.1 albums is in fact
"concocted" with digital reverbs...
Again : judging by the Weiss/Katz CD, it seems that pop (the high end
part of it, that is...) is the only genre that have come to a level of
technical mastery, at the mixing level, that can offer mastering
engineers the luxury of only have to perform modest enhancements. Which
is a level I wish EA could attain soon!
This archive was generated by hypermail 2b27 : Sat Dec 22 2007 - 01:46:13 EST