HIGHLY RATED MULTI-TRACK MIX DESTROYS TCHAIKOVSKY INTERPRETATION !!!

A Conductor's intentional presentation is too often drastically changed with multi-track choices of mic placement and inappropriate mix. Not not talking about amateurs, but highest value International company with 5+ decade's in classical/instrumental music.

Two recordings made of same Tchaikovsky's 'Francesca DA Ramini' recorded with multiple orchestra placed mics running into DSD multi-track recorder, and also audience perspective with HRTF stereo-surround mic recording exactly as the audience heard and enjoyed.

The audience perspective recording gives evidence of shortcomings with multi-track mixdown decisions that resulted in an almost unrecognizable release 'version.'

When compared to conductor/audience perspective musical experience, the multi-track version is indeed more 'grand' sounding, AND almost totally lacking MOOD expression.

This is serious damage to music appreciation, and in my opinion is NOT an isolated incident, too often goes unnoticed, and is making classical recordings for zombies having little or no feeling for dynamic/mood inducing passages.

Sensitive arrangements and dynamics fully express mood in performed works, but the feeling is quickly killed off by blind multi-track methods having no sense of the original presentation.

If only the production company made a second recording for REFERENCE. Using conductor and/or audience positioned HRTF mic with 360° virtual human perspective recording accuracy.

With an accurate recording for comparison, then it will be MUCH MORE DIFFICULT to make WRONG MIX DECISIONS that now are changing or greatly eliminating the dynamic and emotional cues in the original conductor-managed, audience appreciated presentation.

 

The damage done to original performances with flawed multitrack practices continues to degrade live recordings with unrecognized impunity. However, 'interpretation distortions' from inappropriate mixes are MOST VISIBLE when (and most lucky to have) conductor/audience mic'd 2'd recorded version for COMPARISON.

Comparison allows direct experience to fuller understanding to what's being LOST in some recorded versions by companies expected to know better!.

Both versions are excellent audio-quality recordings, make NO mistake about this.

However, ONLY the HRTF mic'd audience version has fully intact loud-to-soft musical dynamics. Also intact is individual instrument's intentional relative sound mix that's often unique with a musical passage. This seems especially audible in the disappearing 'Bassoon' selection.

In other words, the conductor's work to insure sensitive and emotional interpretation in the live performance is in great jeopardy, easily destroyed, with little notice in the multi-track recorded version.

PROBLEM: Present day multi-track lacks conductor's heard, or even audience perspective recording ability. Suggest HRTF conductor's perspective recording at least used AS REFERENCE to choice of mic placements, critical multi-track mix decisions for chance of retaining the integrity of the original performance's live presentation. There's good reason to consider HRTF stereo-surround recording for classical performance production. Give a listen to more fully realize what is missing in most modern multi-track performance recordings

Graph at left shows two versions middle portion of full performance with clearly visible differences in volume levels. Side-by-side listening comparison makes most aware of the contrived, inappropriate dynamics, and significant loss of emotional feeling in the commercial version.

Please note, both versions volume matched for having identical maximum finale loudness only for fully accurate dynamics comparison.

Notice in the above graph HRTF version has smaller (less loud) 'as-was-conducted' mid-performance, where in comparison the mulitrack version shows likely judged inappropriate, hyped loudness in middle passage.

Relative level and dynamics is not respected with artificially 'hyped' multi-track version. You can now compare and decide which version you like more. Download and listen to both for rare occasion of comparison AND having a choice of synthetic or organic interpretations.

Let me know impressions, and thoughts about live release quality. ALSO, more to know and say on the Taperssection.com thread "TCHAIKOVSKY WHACKED BY PRO PRODUCTION?"

Suspect many will find both versions equally appealing for what's personally enjoyed, and appreciated, at least at first.

Interesting question to ask is after hearing a few times, which version has best chance for lasting respect and enjoyment after a lifetime of auditions?

           
FILE QUALITY
19 SEC MISSING BASSOON?
7 MIN MIDDLE EXPRESSION
18 SEC FULL LOUDNESS FINALE
24.5 MIN COMPLETE SELECTION
MP3<OGG<FLAC
AUDIENCE
MULTI-TRACK
AUDIENCE
MULTI-TRACK
AUDIENCE
MULTI-TRACK
AUDIENCE
MULTI-TRACK
(VBR) .MP3
.OGG
.FLAC
(FILE NAME.)
(BASSON_01)
(BASSON_02)
(MEDIO_01)
(MEDIO_02)
(FINALE_01)
(FINALE_02)
(HRTF_01)
(MULTI_02)
FILE NOTES
Larger size file (type) is better quality. While mp3/OGG are directly (WINAMP) playable, FLAC needs conversion to hear. Suggest choosing all same type of file (mp3, OGG, or FLAC) then download paired selections for comparing versions. Most files not titled so please remember ALL names ending _01 are Audience, and _02 are Multi-track versions. Example: basson_01.' is Audience, and basson_02. Multi-track version
AUDIENCE RECORDING NOTES
DSM-6S/H HRTF mic direct to PCM-M1 MOD-2 DAT deck in 16bit/44.1K mode, first row center loge seating, ~100 foot podium distance. Recorded with live audience and is full bandwidth (fully 5.1 decodeable) 2-channel stereo-surround type.  
DSD MULTI-TRACK PRODUCTION NOTES
12+ orchestra mics +/- preamp to DSD multi-track deck. Recorded without live audience. Internationally performed final mix and mastering. Very high cost, established most highly regarded production values.  
   
                 

What's on Sonic Studios Web Site? (Click underlined text, and navigation photos)
DSM™
Patented Stereo-Surround Microphone Technology
Passive DSM™ Mic Powering/Bass Filters
 
 
 
 
Eyegear/Headband/HRTF Baffle mountable matched omni mics
Stops wind blast noise; transparent acoustic design; records real wind sounds
for MD, DAT, CF, HD, and Video Field/Event/Studio Recording
HRTF RECORDING
Stereo-Surround Omni Mic Baffle for Stand, Fishpole, Studio Boom, and Ceiling
RECORDING ACCESSORIES

Portable Deck Power Solutions

Patch/Adapter Cables

Field/Studio Monitoring Headphones, Reviews

 

High-definition, low noise, very wide bandwidth preamp designs to fit any field/event/studio application using DSM™ stereo-surround mics.

MONO ONLY 'Lombardo' Lapel Mic for interview, Narration, Lecture, and clip-on acoustic instrument Recording

DSM™ Magazine Reviews
   
 
    USA Telephone #:
   
541-459-8839
   
E-mail:
   

AVOID ACCIDENTAL E-MAIL SPAM DELETION:

PLEASE .................. ALWAYS INCLUDE an appropriate SUBJECT LINE in all e-mail correspondence.

A Few Other Links
About Sonic Studios  
   
   
© Sonic Studios 2007 - 2013, All rights researved Page updated 3/19/2013