This seems like a custom DIY built with SB acoustics woofer, and accuton mid/high driver. All very good quality drivers.Does anyone know what speakers Keith O. Johnson of Reference Recordings using?
This seems like a custom DIY built with SB acoustics woofer, and accuton mid/high driver. All very good quality drivers.Does anyone know what speakers Keith O. Johnson of Reference Recordings using?
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?
Does anyone know what speakers Keith O. Johnson of Reference Recordings using?
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.
Precisely!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
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
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
Does anyone know what speakers Keith O. Johnson of Reference Recordings using?
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.” (...)
If you have only 2 microphones (or 3 Decca three), of course the placement is very important.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
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.
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.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
Congrats, beautiful! Listening to it now, nice mic choice and placement"deer's cry" with the composer Arvo Pärt and Vox Clamentis singers... Neumann TLM 50
Yes or No
(...)
For many CDs I was abble to propose a good place for recording.
Generally it's an agreement between the producer, (...) the sound engineer.
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.