I've read that once - but Switzerland didn't take part as much as Argentina... they (we?) almost lost all games we played. Of course Argentina WON many more. It's about the difference between my microphones and the ones at Abbey Road, as I said...
How on earth would you choose!? You'd probably need to have worked there for 10 years at least to even form an opinion on all those, let alone make up your mind
Fun times though.. fun times
Well, there's very little experimentation involved when recording an orchestra - there just isn't the time. ALL the inhouse engineers tend to use a very similar setup (because it works) - M50s on the tree, 4038s horns, km84s violins, 87s on cellos, C12s on outriggers, erm maybe 47s on basses? Can't remember more than that...maybe schoeps on woodwind. Usually one mic per "desk" (music stand), so you migh have say 6-9 close(r) mics on violins, and so on. It does add up to a lot!
Then a visiting engineer comes in with a totally different set up, depending on where they trained - you started to notice "house styles", more than once I worked out the engineer visiting was originally from Decca because of his mic choices.
I don't know what it's like now, but AR Studio 1 used to have one rack of GML preamps, a GML EQ and that was it for outboard. Nothing else (although of course there was lots in the gear stores).
Well, there's very little experimentation involved when recording an orchestra ...
According to the Geoff Emerick book, he not only put up the standard mics for the Eleanor Rigby strings, he also put up close mics at around 2 feet, and really really close mics at 4 inches. This was unheard of in his day. They chose the 4 inch close mics for the mix. According to the book, Geoff broke just about every rule they had at EMI recording the Beatles. He was the first to close mic the drums, which could have gotten him fired of the top brass would have walked in during the session.