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Which speakers are the Classical Music Pros using?

neph

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Does anyone know what speakers Keith O. Johnson of Reference Recordings using?

9duEpm0.jpg
This seems like a custom DIY built with SB acoustics woofer, and accuton mid/high driver. All very good quality drivers.
 

Igor Kirkwood

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Thanks for bringing this to my attention, I've just ordered a CD.
Listening to it now on Spotify. Sounds very good.

Feel free to suggest more of your recordings.



Did you do any processing (EQ, compression, etc.) at home?
Does the CD sound different from your master?

What is your subwoofer?

I have 4 subwoofer SVS PC 2000 to get on curves not only Left, Right but a very important information : Left + Right and more Left- Right .
as preconise Griesinger

You can see here for more informations:

https://www.audiosciencereview.com/forum/index.php?threads/dirac-and-similar.8715/page-9

For my 4th CD "Deer's cry" ECM Record , I don't use any compression and any EQ

The sound on CD is exactly the sound the day of recording

Capture2.PNG


Right to left: Arvo Pärt , Jaan-Eik Tulve conductor of Vox Clamentis, Artistic Director Helena Tulve, Igor Kirkwood sound engineer
 
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amadeuswus

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Does anyone know what speakers Keith O. Johnson of Reference Recordings using?

9duEpm0.jpg



m2aCBcI.jpg

Andrew Quint of The Absolute Sound went behind the scenes at a Reference Recordings production at Mechanics Hall, Worcester MA:

http://www.theabsolutesound.com/articles/magic-at-mechanics/

From page 1 of the article: "A pair of moderately sized stand-mounted loudspeakers, again designed and built by Johnson, has replaced the hefty B&W [801]s that are usually used at Mechanics."

From Quint's short TAS review of the album: "How [Keith Johnson] knew what he was actually getting from listening to the two small monitors set up in a remote control room is beyond me. But in multichannel especially, this album is among the most convincingly realistic recordings I’ve ever heard."

http://www.theabsolutesound.com/articles/rachmaninoff-piano-trios-nos-1-2-vocalise/
 
OP
tuga

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From Quint's short TAS review of the album: "How [Keith Johnson] knew what he was actually getting from listening to the two small monitors set up in a remote control room is beyond me. But in multichannel especially, this album is among the most convincingly realistic recordings I’ve ever heard."

That wouldn't stand up in court. :cool:
 

sergeauckland

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That wouldn't stand up in court. :cool:

When recording classical music in a purist fashion, I think 95% of the sound comes from microphone placement. Consequently, unless someone's going to do a lot of post-production, it doesn't matter a lot what is used for monitoring, as they're only used to hear what's going on, and to make sure that the microphone placement given the most natural stereo. Consideration of dynamics and equalisation and spot microphoning doesn't apply much to a purist recording, and nor does much post production. Experience goes a long way in deciding on the best microphone placement for the ensemble and venue, the recording then can be pretty simple.

S
 

Frank Dernie

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When recording classical music in a purist fashion, I think 95% of the sound comes from microphone placement. Consequently, unless someone's going to do a lot of post-production, it doesn't matter a lot what is used for monitoring, as they're only used to hear what's going on, and to make sure that the microphone placement given the most natural stereo. Consideration of dynamics and equalisation and spot microphoning doesn't apply much to a purist recording, and nor does much post production. Experience goes a long way in deciding on the best microphone placement for the ensemble and venue, the recording then can be pretty simple.

S
Precisely!
 
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tuga

tuga

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When recording classical music in a purist fashion, I think 95% of the sound comes from microphone placement. Consequently, unless someone's going to do a lot of post-production, it doesn't matter a lot what is used for monitoring, as they're only used to hear what's going on, and to make sure that the microphone placement given the most natural stereo. Consideration of dynamics and equalisation and spot microphoning doesn't apply much to a purist recording, and nor does much post production. Experience goes a long way in deciding on the best microphone placement for the ensemble and venue, the recording then can be pretty simple.

S

 
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tuga

tuga

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This is a video of the recording being monitored above.
How many mics would you they they're using? Judging by the number of tall stands I'd say the main pair plus at least another 6 pairs and maybe a couple accent mics.

 

TimVG

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I have 4 subwoofer SVS PC 2000 to get on curves not only Left, Right but a very important information : Left + Right and more Left- Right .
as preconise Griesinger

You can see here for more informations:

https://www.audiosciencereview.com/forum/index.php?threads/dirac-and-similar.8715/page-9

For my 4th CD "Deer's cry" ECM Record , I don't use any compression and any EQ

The sound on CD is exactly the sound the day of recording

View attachment 56022

Right to left: Arvo Pärt , Jaan-Eik Tulve conductor of Vox Clamentis, Artistic Director Helena Tulve, Igor Kirkwood sound engineer

Very nice work, Igor. Listening on Spotify - sounds excellent.
 
OP
tuga

tuga

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Keith O. Johnson
HI-FI'S AUDIO "PROFESSOR"


https://www.mixonline.com/recording/keith-o-johnson-375280

(...) In the midst of his work as a developer, Johnson’s ongoing relationship with Reference Recordings gives “The Professor” a platform with which to engineer and experiment with loudspeakers, microphones and other equipment designs. To record renowned ensembles such as the Dallas Wind Symphony, Chicago Pro Musica and the London Philharmonic, Johnson uses some manufactured equipment — Tascam recorders, Microsonics Model 1 and 2 HDCD processors (he’s admittedly biased) and a Neumann U47 here and there — but mainly uses gear he’s either custom-built or extensively modified at his shop in Pacifica, Calif. His modular console arrangement is built from passive mixer and high-voltage discrete amplifier designs; setups include a 2-channel console for main mics, an accent console to highlight instruments and a 5-channel console to process a dedicated multichannel feed. “Now there might be a workstation involved, but its only purpose is for editing and splicing,” he says. “We don’t have DSP to degrade the signals.”


He models his setup after one used by longtime engineer Gordon Parry of London Decca Classical, using EQs on only four inputs, each optimized for a specific task: woodwinds, brass, voice and reverb. Mics include a pair of front omnis, a pair (or more) of semi-directional outriggers on either side, random incident omni pairs to capture hall reverb, ribbon or large-diaphragm condensers for solo instruments and a directional center group between the omnis. “The main and center group are 90 percent of what you hear,” says Johnson. “But I add what I call ‘time-panned stereo pair accents’ to produce delays simulating inter-aural binaural listening.” (...)
 

amadeuswus

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Does anyone know what speakers Keith O. Johnson of Reference Recordings using?

9duEpm0.jpg



m2aCBcI.jpg

The floorstanders in the second photo look like Avalon Acoustics speakers. If I remember correctly, Reference Recordings CD booklets sometimes list an Avalon Acoustics Monitor designed or co-designed by Keith Johnson.
 
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amadeuswus

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Keith O. Johnson
HI-FI'S AUDIO "PROFESSOR"


“The main and center group are 90 percent of what you hear,” says Johnson. “But I add what I call ‘time-panned stereo pair accents’ to produce delays simulating inter-aural binaural listening.” (...)

I enjoy many of the Reference Recordings releases engineered by Keith Johnson, such as the Rachmaninoff Symphonic Dances (Minnesota Orchestra/Eiji Oue) (https://www.amazon.com/Rachmaninoff-Symphonic-Dances-Études-tableaux-Vocalise/dp/B00005QD5Z). But based on the Dallas Wind Symphony video and this "Audio 'Professor'" article, Johnson seems more like a wizard than a faithful scribe. Or perhaps the wizardry is used to enhance the transcription and make up for some of deficits inherent in home playback.
 

Igor Kirkwood

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When recording classical music in a purist fashion, I think 95% of the sound comes from microphone placement. Consequently, unless someone's going to do a lot of post-production, it doesn't matter a lot what is used for monitoring, as they're only used to hear what's going on, and to make sure that the microphone placement given the most natural stereo. Consideration of dynamics and equalisation and spot microphoning doesn't apply much to a purist recording, and nor does much post production. Experience goes a long way in deciding on the best microphone placement for the ensemble and venue, the recording then can be pretty simple.
S
If you have only 2 microphones (or 3 Decca three), of course the placement is very important.

But it is one thing more important than placement of microphone is , for classical music, the choise of the recording place.
-For Gregorian song you can get 6 seconds of reverberation in a very big church like l'Abbaye de Fontfroide in France in the "Christux Rex" with Herve Lamy for Jade/Universal record.

20200329_161502.jpg


-For symphonic orchestra I like the famous Concert Hall of St Petersbourg for Calliope: Bartok Music for strings percution and celesta .
-Piano solo: it's more easy to find a good place to record.
All these CD are monitoring with Earphones and use 2 microphones.
Some exeption for Richard Galliano and Thierry Escaish (organ) Jade "Aria" 4 microphones .
 

Igor Kirkwood

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Yes or No

Sometime a recording engineer connot control the place of recording

But sometime olso, if the producer propose a bad room, the sound engineer can give his opinion.

For many CDs I was abble to propose a good place for recording.

Generally it's an agreement between the producer, the artist and the sound engineer.
 

andymok

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Yes or No

Sometime a recording engineer connot control the place of recording

But sometime olso, if the producer propose a bad room, the sound engineer can give his opinion.

For many CDs I was abble to propose a good place for recording.

Generally it's an agreement between the producer, the artist and the sound engineer.

That'd be the practice of course. That's how we plan our concerts as well, but you just don't put their names on the applications or any documents filed in regarding venue booking lol.
 

carlosmante

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You show here lots of Recording Studios

But what happens for record in Churchs ?

On this photo you can see one of my recording place in a church of Tallin in Estonia. (with only 2 microphones Neumann TLM 50)

I record here for ECM Record (in 2016) the CD "deer's cry" with the composer Arvo Pärt and Vox Clamentis singers.

The monitoring of this Arvo Pärt CD was on phones in the church and with my loudspeaker .... in France !

You can see olso here :

https://www.audiosciencereview.com/forum/index.php?threads/dirac-and-similar.8715/page-9

View attachment 55905View attachment 55908
I listened to the CD on Spotify and was nicely surprised by the very good pronunciation of Spanish in the piece "Virgencita". I found very interesting, in my humble opinion, that the best speakers of Spanish as a Second Language are people from Russia or Eastern Europe.
 
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NTK

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Boston Symphony Orchestra (BSO) control room. They also use B&W speakers.

Here is the link to the project page at the WSDG (they are architectural acoustic design consultants) site. The project page has a brief description of the acoustic treatments used in the design (quoted below).
https://wsdg.com/projects-items/boston-symphony-orchestra-control-room/

BSO-Final-3.jpg


Overview
A cultural icon for 134 years, the Boston Symphony Orchestra is world-renowned for the excellence and diversity of its performances. Broadcast from Symphony Hall, via radio, TV and the Internet, these symphonic and ‘Boston Pops’ concerts encompass the entire spectrum of classical and contemporary music, from Rachmaninoff to Manilow. After over forty-five years of service in the broadcast and recording of thousands of concerts, the Symphony Hall’s Deutsche Grammophon Gesellschaft Control Room had earned a major upgrade.
Program
In 2014, BSO Director of Concert Operations Christopher W. Ruigomez, Recording Engineer Nick Squire and Grammy Award-winning, Sr. Engineer/Technical Director for BSO’s Tanglewood Festival, Tim Martyn convened to discuss the CR’s overhaul.
WSDG Project Manager Matthew Ballos, reports that. “BSO’s 400sq. ft. Control Room had been in constant service since 1970. During our initial site visit, we performed extensive measurements and acoustic tests. We then devised a program to enhance the CR’s functionality, and future-proof it to meet 21st Century technology requirements. The BSO team was pleased to learn that their existing Yamaha DM2000 console and 5.2 surround system, with its Bowers and Wilkins 802s mains and 805D surrounds, still offered years of active service. And, they concurred with our recommendation that the CR’s acoustic and aesthetic conditions required a substantial update.
Design
WSDG’s ground up acoustic treatment solution included splayed perforated wood panels, slotted wood panels, wood diffusion planks and low frequency absorption units. A handsome new custom ceiling cloud was installed to round out the package. Once the room’s acoustics and aesthetics were resolved, WSDG designed four new producer workstations and two up-facing equipment racks, which can be rolled out of the way when not in use. “The space was stripped to the bare walls, and the entire room experience was refreshed and modernized, all while respecting the BSO and Deutsche Grammophon legacy. This room will now offer many more years of service.” Ballos says.

The WSDG website has a huge gallery of their architectural acoustics projects (far too many to re-post here). Beside pictures, each project page includes a brief description of the acoustic design and treatment products used. Here is the link to the recording studios and residential projects gallery. Well worth going over to their website and peruse, IMHO.
https://wsdg.com/projects/recording-studios/
https://wsdg.com/projects/residential/
 
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