convincing, utterly convincing solid imaging and playing, in a real space, with each sound source having body.
tends to require main single stereo mike, or crossed pair array, or a phased array, of directional mikes, fig 8's and cardioids. Decca/Argo/Loiseau Lyre, the only consistent exception - use Omni array Xmas tree plus spots.
your speakers MUST be able to disappear, ie no sense of any sound coming from them at all, also highly room and set-up dependent.
Dipole/panel spkrs do, but very few enclosure types, can pull this off, even heavy composite pyramidal types IMO and E. Most spheres can and do, eg the earlier Gallos. mine are even earlier!
exemplary sources? virtually any recordings on
Hyperion
Accent
Auvidis Astree
RR
Opus 111
Deccas Classic reissues.
Argo - eg. the Rossini String Sonatas - Marriner.
Dorian
There ARE other companies, yes.
Live direct OB's of acoustic music are often constrained to use a single stereo mike, and can be the best sound of all, way better than any R2R (or DAT?) of the same event, same mikes.
Tim B
tends to require main single stereo mike, or crossed pair array, or a phased array, of directional mikes, fig 8's and cardioids. Decca/Argo/Loiseau Lyre, the only consistent exception - use Omni array Xmas tree plus spots.
your speakers MUST be able to disappear, ie no sense of any sound coming from them at all, also highly room and set-up dependent.
Dipole/panel spkrs do, but very few enclosure types, can pull this off, even heavy composite pyramidal types IMO and E. Most spheres can and do, eg the earlier Gallos. mine are even earlier!
exemplary sources? virtually any recordings on
Hyperion
Accent
Auvidis Astree
RR
Opus 111
Deccas Classic reissues.
Argo - eg. the Rossini String Sonatas - Marriner.
Dorian
There ARE other companies, yes.
Live direct OB's of acoustic music are often constrained to use a single stereo mike, and can be the best sound of all, way better than any R2R (or DAT?) of the same event, same mikes.
Tim B