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Which speakers are the Classical Music Pros using?
- Thread starter tuga
- Start date
@tuga has already posted the BSO control room in post 58. I need to post something new 
Here is another from WSDG — the Ellis Marsalis Center for Music in New Orleans. Speakers are JBL M2.
https://wsdg.com/projects-items/ellis-marsalis-center-for-music-emcm/
Here is another from WSDG — the Ellis Marsalis Center for Music in New Orleans. Speakers are JBL M2.
https://wsdg.com/projects-items/ellis-marsalis-center-for-music-emcm/
OP
tuga
Major Contributor
- Thread Starter
- #123
@tuga has already posted the BSO control room in post 58. I need to post something new
Here is another from WSDG — the Ellis Marsalis Center for Music in New Orleans. Speakers are JBL M2.
https://wsdg.com/projects-items/ellis-marsalis-center-for-music-emcm/
No worries, you had complemented my post with further information about the designers.
Much like Gibson guitars and famous musicians, B&W has the marketing budget to pay these studios to use their speakers.
What studio? Do they record/master classical music? Any examples of their work?
One smaller independent label owner was approached about using B&W speakers and getting paid for a promotional piece about them. I don't think they were paying a "salary" on them per say but offering the speakers for use along with the payment for the promotion.
OP
tuga
Major Contributor
- Thread Starter
- #129
Toole on why classical music studios prefer B&W speakers. Answer: the BBC dip?
In sound reproduction the final performance occurs in a recording control room or mastering room, both of which are dimensionally similar to domestic listening spaces.
Control rooms, by tradition, can be quite dead, but mastering rooms should be closer to typical playback environments, otherwise the "circle of confusion" becomes a factor - and that assumes that all parties employ timbrally neutral loudspeakers, which is not at all certain.
Equalization is part of that process. I agree that close mic'ed recordings can be problems, and if they are, it is an indication of differing tastes (or hearing performance) between the recording staff and the listener, or, equally likely, monitoring through spectrally colored loudspeakers - compensating errors.
Excessive brightness may also be the result of non-optimum mic placement.
This happens in concert performances with elevated mics picking up more high frequencies from violins than is heard in the audience.
There is a loudspeaker that is preferred for "classical" recordings by some experienced recording engineers - it has a sagging frequency response in the upper midrange/lower treble and makes the strings sound more natural.
This is a case of the monitor loudspeaker being deliberately incorporated into the recording - dumb.
Listeners will not hear what they heard unless they have the same idiosyncratic loudspeakers.
In sound reproduction the final performance occurs in a recording control room or mastering room, both of which are dimensionally similar to domestic listening spaces.
Control rooms, by tradition, can be quite dead, but mastering rooms should be closer to typical playback environments, otherwise the "circle of confusion" becomes a factor - and that assumes that all parties employ timbrally neutral loudspeakers, which is not at all certain.
Equalization is part of that process. I agree that close mic'ed recordings can be problems, and if they are, it is an indication of differing tastes (or hearing performance) between the recording staff and the listener, or, equally likely, monitoring through spectrally colored loudspeakers - compensating errors.
Excessive brightness may also be the result of non-optimum mic placement.
This happens in concert performances with elevated mics picking up more high frequencies from violins than is heard in the audience.
There is a loudspeaker that is preferred for "classical" recordings by some experienced recording engineers - it has a sagging frequency response in the upper midrange/lower treble and makes the strings sound more natural.
This is a case of the monitor loudspeaker being deliberately incorporated into the recording - dumb.
Listeners will not hear what they heard unless they have the same idiosyncratic loudspeakers.
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Thanks for digging this out, here is the source btw https://www.audiosciencereview.com/...nelec-on-audio-science.3110/page-5#post-79486
Igor Kirkwood
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Sorry blavlf I miss your question ! on Manfred Eicher director of ECM Records .Even with Manfred Eicher ?
I recorded only 3 CD's for ECM records with Vox Clamentis the Estonian Choir .
The condition of recording in Europe are difficult, and I agree with Vox Clamantis to wait they find a label to be paid (in first I receive only the plane ticket for me and material and for hotel).
Manfred Eichter agree first Arvo Pärt composer and Vox Clamentis Choir and in second the Church of Transfiguration of Tallin and my sound work . But he din't choise the recording place but he was OK for.
This has been such a fascinating thread. Many thanks to all of the contributors. Am now listening to @Igor Kirkwood's Paert recording. Wonderful. Looks like I might have to save up for some big B&Ws.
Last edited:
Igor Kirkwood
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Thank you fordiebianco . I think that, here, my owns recordings (ECM records...) are more appreciate than my monitoring system.
. I think that, here, my owns recordings (ECM records...) are more appreciate than my monitoring system.
Igor Kirkwood
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Bayerische Rundfunk:
Studio 2 - ME Geithain RL903K
Most of the recording coming out of Bayerische Rundfunk, in particular BR Klassik recording with Mariss Jansons have excellent sound.
Nice bavlf
For Thanks my best recording of Medieval Music is forView attachment 77165 "Calliope_"
The sound of la Chapelle de la Sainte Famille in Amiens (France) is fantastic ; of course 2 TLM 50 Neumann microphones only, no DSP .
where do I purchase this music? I downloaded the Deers Cry but this piece is not there.
Tillman
I looked at the time of posting, the CD is out of print and Qobuz did't have it to stream
