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Old 4 weeks ago
  #42
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Plush, my sincere thanks for taking the time to formulate this valuable mini-essay. Some of these points are familiar to me from other posts you've made over the years, but this summary is especially eloquent and will be referenced by many, I'm sure.

For some of the others who have contributed, here are a few other questions I had:

Quote:
Originally Posted by NorseHorse View Post
My recording philosophy was heavily influenced by my time at the Classical Music Library Online. Over the course almost two years, I listened to thousands of recordings in quick succession. They came from labels, ensembles, and engineers all around the world. Orchestral music, band music, choral music... new music, old music... everything from chant to Xenakis, Haydn to Mackey, string quartets to saxophone quartets.
Hi Christian, thank you again for sharing your thoughts in this thread. Since you have so many hours of critical listening as part of your process/development, I'd love to hear a little bit more about what goes through your mind when listening carefully to a piece of music. Especially if you can recall some aspects of this which have changed over time -- things you are now more conscious of than previously, etc.


Quote:
Originally Posted by hughshouse View Post
There is also a very important philosophical question to resolve pursuant to the issue Brent has raised. Do you possess the "personal people skills" to make positive suggestions to remedy a flawed performance or the courage to gracefully walk away from a performance that is well beyond corrective measures and most important of all the wisdom to know the difference?
Hugh, thank you very much for your thoughts, I really appreciate it. Obviously you covered a lot of important ground, but the above comment struck me in particular as something which might be interesting to hear more about from your point of view. This important "artist relations" aspect of the recording process has always struck me as one of those paradoxical skills which can probably only truly develop through hands-on experience, and yet having this skill highly developed in advance, as Plush noted, helps keep the recording date flowing smoothly and builds a positive reputation, etc.

I try to carefully observe older and more experienced engineers, as well as treating even a frustrating recording in terms of venue acoustics (let's say) as a chance to improve some of these skills. What else do the more experienced folks recommend, I wonder?



Also, for anyone else who cares to comment, one topic from my OP which is of great interest to me personally, though we haven't really gotten into it yet:

In what areas are you currently striving/experimenting as more experienced engineers? New mic array techniques? Correspondence with colleagues in other countries? Honing and perfecting time-honored techniques ever closer to their Platonic ideal?