Much of what's been said so far is pretty accurate. It's very common
for me to splice in sections from dress rehearsals and multiple
night's performances. However, I'll also add that sometimes this can
be incredibly difficult. Having 800 warm bodies in a concert hall
sounds a lot different than having an empty hall. Also, changes in
temperature and humidity can have a dramatic effect on the sound as
well. Add to that the complexity if someone bumps or moves a mic stand
even a much as a few inches.
I've spent 4 hours before repairing the horn solo in Beethoven 6
before. It's a challenge but always a fun one.
J
On Aug 16, 2008, at 8:14 PM, [EMAIL PROTECTED] wrote:
Quoting Ed Glick:
I agree with what you say here, but I want to make a comment about
one poin=
t you make, regarding recordings of live performances. It's my
understandin=
g that in many "live" concert recordings, sections from recordings
from dif=
ferent nights (when an orchestra does perform the same program over
several=
nights) are "spliced" in where necessary.
This is practically universal. There can also be splicing in of
material from rehearsals (as happened on a recent recording I made
because a violist--it's always a violist, isn't it? <g>--took out
the power in the control room right before the concert started).
Also, sometimes this happens not because of mistakes in the
performance, but owing to equipment (or engineer!) failure, again as
during a certain recording of the Nelson Mass.
(I put the word "splice" in quot=
es, because tape - if tape is even used - is no longer spliced
physically n=
ow, but by a computer.) I'm told that sometimes the orchestra is
even calle=
d back to record sections specifically for the recording.
I'm sure this is true on higher budget recordings than what I do. <g>
I'd also like to add, for all those professionals or non-
professionals making audition recordings, that I've never had anyone
nail a single piece or excerpt in one take. Some *have* played note-
perfect first takes, but even then the performers have been
dissatisfied with them in some other way. I've been doing this since
1968 (started *real* young <g>). So, even if you're a major figure,
don't be dismayed if it takes several takes to get the piece to your
satisfaction.
Also, like Jeremy, I've heard some real indiscreet stuff come over
the phones, particularly at rehearsals!
Howard Sanner
[EMAIL PROTECTED]
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