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From: daveb@rtech.UUCP (Dave Brower)
Newsgroups: net.music.classical,net.audio
Subject: Re: "West Side Story" (Multi-miking)
Message-ID: <511@rtech.UUCP>
Date: Sun, 23-Jun-85 12:34:56 EDT
Article-I.D.: rtech.511
Posted: Sun Jun 23 12:34:56 1985
Date-Received: Sat, 29-Jun-85 02:38:48 EDT
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Organization: Relational Technology, Alameda CA
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Xref: watmath net.music.classical:1148 net.audio:5195

> ...hall ambience) is precluded.  Even more difficult for me to understand
> was the use of separate mikes, each no more than a foot away from the
> singer, for soloists of the likes of Te Kanawa and Carreras who are
> trained to project over large orchestras in the world's largest opera
> houses.
> 
> As the show proceeds, one reason for this becomes apparent.  At one
> point, Bernstein can't hear the lower voices and the trombones.  Since
> they have been miked for maximum isolation, the technicians in the control
> room can "take care of it" by raising the level of that individual line
> rather than having them play it again.  I think that here is ultimately
> the crux of the matter of why a 1956 Reiner or Dorati recording sounds
> so much better than a number of CD's produced in the last year...
>
> It was interesting that this recording was being made by DGG and that
> they used Andrew Kazdin as a producer.  Is it mere coincidence that
> it has been years since DGG produced a recording that had any sense of
> space or ambience, and that Kazdin has been responsible for a number
> of CBS multi-mike monstrosities?

For argument's sake, leave aside the qualitative aspect of multi-miking
and consider the economics of having an orchestra sitting around for
take after take after take following lengthy rehearsals elsewhere.  Then
consider having a few short rehearsals outside and recording the whole
orshestral track in a few sessions with balance problems "fixed in the
mix."

Perhaps Mr. Kazdin's chief qualification (to CBS and DGG) is his ability
to finish a project on time and under budget.

-- 
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