On 2 Apr 2012, at 19:02, Eero Aro <eero....@dlc.fi> wrote:

> Ronald C.F. Antony wrote:
>> for real performances, single point micing, even though not a
>> must, should be adequate or superior for all events that are recorded
>> in a venue in which a live audience is supposed to have a good
>> listening experience of an equivalent performance.
> 
> Ronald, the next time you go to an opera to sit in your one spot, please
> keep your eyes closed during the whole opera, from beginning to the final
> curtain.

Actually, most of the time I'm doing just that, same with symphonic 
performances.
I just don't give enough about seeing some fat lady acting badly, or some 
people in penguin outfits pretending to perform for the aristocracy a couple of 
hundred years ago. (And several conductors and soloists have such mannerisms 
that it's seriously distracting from their music, e.g. when Brendel was playing 
the piano I had to look away, because his grimaces were just intolerable 
regardless how genius his performance was).

Unlike a musical, when I go to classical performances, I go there for the music 
and not for the show. Needless to say, I spend the extra bucks to have a seat 
where I like it.

Of course, not everyone sits front center, and that's where your comments are 
perfectly valid, but that's also not where one would place a single point 
recording setup, unless one tries to do an undercover bootleg recording and 
can't get better seats...

Any sort of reasonable performance space, and certainly every world class 
stage, has seats where missing parts of the performance aren't an issue, 
provided nobody screws up, and that's where the recording should be made.

It also beats me, why the microphones dangle 10m above ground, when the 
audience is sitting in a chair. I want the microphone where my head would be, 
and not as if I were suspended magically in mid-air. (Well, I know why they do 
it in live setups, they want to sell more tickets... but they stick with the 
same stuff for non-live recordings.)

Ronald
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