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Old 25th July 2019
  #34
Here for the gear
 

Quote:
Originally Posted by studer58 View Post
The difficulty with hoping for neat, linear-progression, evolutionary improvements or innovations in recording methodology is that...that's not how it goes !

There were/are broad movements, as well as little silo-factions, in co-existence always...some tip their hat to accepted acoustic theory, many don't (or bend it in ways never intended). If you add surround/3D/ambisonics you create an even bigger whirlpool (or rabbit-hole) of possibilities....

The history of discovery, innovation, adaptation and evolution of ideas and practice rarely conforms to neat academic pigeonholes...and stereo recording is no exception !
Right, that's one of the things that's really clicked for me thanks to this thread. I had somehow come under the impression that there's always been a fair amount of "The Way Things Are Generally Done" in the recording of orchestras, and posed my question with that assumption in mind. With the music itself being so formalized and traditionalistic, I guess I kind of figured the engineering for it might tend somewhat in that direction as well? The responses I'm getting here are making it pretty clear that I was way off the mark about that and that it's *far* more individualized than I had imagined, which is actually very cool. It will come as a shock to no one that I haven't done any serious large-scale location recording myself (heh), so I guess I fell into the layman's oversimplified assumptions about the level of artistry involved. Reading some of these reminiscences has been eye-opening to say the least!