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Old 12th October 2008
  #30
Gear Addict
 

Yes, this is exactly what I had in mind! :o) It's pretty clear from older recordings how the sound was achieved. There's something about newer releases that is harder to identify though, perhaps because of the increased complexity of the techniques being used?

Quote:
Originally Posted by newyorker42 View Post
I, too, would love to know specifics about how certain contemporary great recordings were made. This might be the subject of a good book (or electronic book or website since the audience would be narrow) on recording practicalities and would be much more in line with learning another craft: orchestration. To learn orchestration these days, you can easily (but expensively in the case of modern works) buy scores and study them along with the recording.

It would be great for someone to do a book sort of like an architectural "case study" survey on various recordings.

I'd love to know, for example, how the piano sound on the Murray Perahia CD of Handel and Scarlatti (recommended on another thread by David Spearritt) was achieved. Another one that has a totally different feel (that distant but clear thing) is the Pierre-Laurent Aimard recording of Debussy's Images and Etudes. Besides being in that great room, was there anything else the engineers did on that one?