Thank you for the Mark Marrington book tip. Pre-ordered. I think you raise a good point about the many artistic decisions that go into a recorded "sound". I think that for solo instruments like the classical guitar, the recordist and the artist have a lot of communicating to do. Both likely have a perspective on desired possible sounds, and it is the recordists job to know what changes to make to refine starting setups into something that closely follows the vision. I thought the text did a good job of noting the levers available. I do see your point in wishing they were more thoroughly explored. It is hard to see how the 334 pages of Marrington leave anything uncovered! I suppose we shall see.

(I like harpsichords.... I think they are an instrument that is better with microphones (clavichords and classical guitar too). Being able to adjust their volume helps with clarity (or pushing them into the mix). The last time I saw Sharon Isbin in concert, she used a small microphone and speakers to help her guitar get over a tiny orchestra that was already straining to be quiet. It very much helped the music happen and was not audibly "amplified". It just helped even out the 30:1 imbalance of sound generation.)

You are welcome. But points and commissions go to @ studer58 who first mentioned Marrington's book in this thread. . .beating me out by more than a full page of posts. I certainly do concur and have been looking forward to it.


It's true. No detail escapes his [ @ studer58 's] notice! *

Ray H.


* Miss Mary Debenham [Daisy Ridley]

I think it's more that I happened across something of potential interest while investigating the Decca Book...and here's hoping it's a happy blend of practical recording methods as well as a musicological treatise. The right balance of these will be crucial in its wider appeal. The author's background credentials are the final entry on this summary page: https://www.routledge.com/Recording-.../9781138554702

Not released until April next year...long time to wait !

Browsing the table of contents, it is interesting (and welcome) to note how many pages appear to be devoted to detailed analyses of various notable recordings throughout history (i.e. in context), both on technical and aesthetic grounds.

Got the paperback version per Amazon, the corners dented as always with Amazon :-l

I ordered it today and got 20% off. I saw it as an ad on Facebook and snagged it for only $39! The code for the discount is - UML20

Was that from the publishers or Amazon, or similar reseller ?

Here's a short video example of recent Decca vocal recording method...I'm assuming it's a pair of TLM170's backed up with a 'solidifying' M49 ? The background decor looks less like a recording studio and more 'grand European library or ballroom' !

https://www.deccaclassics.com/en/art...e-clare-291434

Same voice mic configuration here, and apparently a 2 mic Tree as main pair:

https://www.deccaclassics.com/en/art...io-bene-432876

Just to be clear, this code is for ordering from Rutledge.com, it will not work for amazon orders. Routledge also gives free shipping in the US though.
--scott

Let's talk about content.

Content. So I've asked about spotting violin soloists before... book has great info on violin. Last week I got to try his violin technique of spotting with two downward facing cards spaced about 12", quite high, with a single central ribbon about a foot lower. Though I used wide cards -- MK21s with a central VL37A. Sounded great, and the option of sliding in some ribbon gave a surprising degree of control over how much focus and bow "hair" texture I desired, to counterbalance the rather somnambulant choir. Gave me nice timbral options, from round/dull to almost edgy. Recommended to try.

I tried out some other setups from the book over the weekend on several small ensembles, still working through my thoughts on those...

Yes! Rutledge.com.

Thanks for the ordering info Don S. Just places my order, rebate still in effect.

The connector doesn’t look like an M49’s tuchel connector...possibly a TLM49?

And that completes my holy trinity of books about audio!

Great - 30% off the day after I bought it at full price!

https://www.routledge.com/Classical-...SqmkWWpQqPheI4

Thanks. Ordered.

Where's Richard King?

Santa Claus is bringing that one!

Well Drats!!

Brilliant book! I half-expected to turn to the section on guitar recording and see "guitar groups are on the way out...."

Lol....an exec could usually expect to make but one decision like that in their career ! Didn't Decca sign Brian Poole and the Tremeloes over the Beatles, because Poole and Co were more local to London than the Liverpool lads, and thus more convenient to manage, book gigs for, etc ? 20/20 hindsight eh !

Decca might have been right though.....I believe that in 2020 guitar groups are indeed finally on the way out ! Frank Zappa had an interesting take on the sort of exec/A&R types who should be entrusted with those sort of crucial 'musical trends' decisions, on behalf of record companies...

. . .and I had so much hope for you.


Guitarist,

Ray H.

I'm sorry...but it does look like 'electric guitar bands' are not as popular as they once were....and here's Zappa on the danger of making these sorts of pronouncements:

https://m.youtube.com/watch?v=AYdGMJmMvmI

Interesting reading in any case. I would have liked them to also discuss the use of Coles ribbon microphones in the piano recording. These seem to play a role in the Decca recordings. In the short report on the recording session in Potton Hall with Elisabeth Joy Roe, you can see the Coles at the tail end. I wonder if they are primarily intended for bass support and are therefore not so susceptible to phase problems.

Just received, a lot to take in!

Do you mean this session (pic below)....where the Coles are 'first in line' after the camera tripod ?

Yes, that one and another one with Behzod Abduraimov , where they used the Coles together with a pair of Neumann TLM 170, if I remember correctly.
I wonder what of the ribbon sound are they hunting for here. Would a ribbon mic a la Royer 121, Mesanovics or Samar AL39 or B&O develop the same colour they are looking for?

as much as i'm a fan of providing multiple options for the producer to decide, i find the setup in the pic somewhat stange: no doubt there are minor differences between the mics in terms of 'eq'/'colour' and direct/ambient sound (due to different patterns and one pair being ribbons) but with all mics roughly in the same position and with identical spacing, imo this does not lead to enough variation in terms of width/stereo spread and articulation/wet-dry balance etc.

i much rather use more directional mics very close/inside, another pair or set of mics outside and yet another set or array at some distance (or evenbmultiple ambient mics, depending on room/hall/approach); i vary pattern, spacing and fr between all mic systems.

(on some occasions, i also use two different systems of close mic)

Yes but this was a Decca session....with high priests, sacrificial virgins and incense etc etc in attendance ! You would not have even been allowed in the room with your heretical ideas

lol - i'm temped to post two clips, one obtained by an heretical approach, one by a dogmatic approach...