That's actually a very good point that I had completely forgotten about. The 2L recordings I love never have the harsh strings problem, and I recall Morten Lindberg describing their process towards the end of this video where he specifically addresses it. They perform "EQ" during the recording by moving the players around, and to avoid the shrill strings problem they'll adjust the microphone angle to eliminate it.Violin directivity. A lot of the HF radiates upward from the soundboard, and a common technique in classical music is to use overhead mics.
I do still think if you're doing close-miked multitracks, then the mixer can and should adjust the tonality of any track if it's harsh. But maybe I should put more of it down to recording techniques and less on the poor audio engineers
I watched this. Interesting interview and he described a lot of different techniques. But overall seems to advocate a hybrid approach because he does point out that he'll close mike when necessary just prefers to avoid it. And that makes sense to me. I do totally agree it's easier to get any acoustic recording right that way. It's just that I think you can produce good recordings either way, because it's not like every close miked recording sounds bad or anything. His comments about surround were kind of all over the place, some good points and a few misconceptions I think. But I can certainly give credit to anyone who says they love surround! And this was 10 years ago.this interview with Tony Faulkner