Loathecliff
Senior Member
Maybe be of interest.
These are samples of two mic recordings. https://occds.org/info/samples.html
In particular what are your views on the piano sound on the Prokofiev third concerto? https://occds.org/cd/cd002.html
Quoting from https://occds.org/info/about.html
"During the 1960s and early 1970s, Geoffrey Terry was invited to tour the UK with orchestras and ensembles from Eastern Europe. Fortunately, as a recording engineer, he was granted the opportunity to make recordings of some of the concerts for posterity. It is from those original tapes that the Virtual Concert Hall Series of CDs has been derived.
.....
The technical theory behind the recordings, CNSTR, is very simple: considering that the concert-goer has only two ears, just two microphones were positioned in very carefully selected locations. The balance and dynamics were left entirely in the capable hands of the musicians; in many commercial recordings, sound engineers override the conductor’s directions and constantly adjust up to 64 microphones. In the Virtual Concert Hall Series recordings, no adjustments have been made to the dynamics; nor have electronic modifications such as reverberation been added. What the listener hears is a pure acoustic mirror image of the original performance."
These are samples of two mic recordings. https://occds.org/info/samples.html
In particular what are your views on the piano sound on the Prokofiev third concerto? https://occds.org/cd/cd002.html
Quoting from https://occds.org/info/about.html
"During the 1960s and early 1970s, Geoffrey Terry was invited to tour the UK with orchestras and ensembles from Eastern Europe. Fortunately, as a recording engineer, he was granted the opportunity to make recordings of some of the concerts for posterity. It is from those original tapes that the Virtual Concert Hall Series of CDs has been derived.
.....
The technical theory behind the recordings, CNSTR, is very simple: considering that the concert-goer has only two ears, just two microphones were positioned in very carefully selected locations. The balance and dynamics were left entirely in the capable hands of the musicians; in many commercial recordings, sound engineers override the conductor’s directions and constantly adjust up to 64 microphones. In the Virtual Concert Hall Series recordings, no adjustments have been made to the dynamics; nor have electronic modifications such as reverberation been added. What the listener hears is a pure acoustic mirror image of the original performance."