Concert stage layout -- who made who?

First of all Nate, it's BABE Brubeck's Time Out, not BAVE Brubeck.

I don't see how anyone can make such a silly error.

Given recording techniques at the time that I saw when I was young and that you can see in pictures in some of the record jackets (for example, check the LA4's Pavanne album), the recording was made in a studio, and the soundstage you hear is in all likelihood artificial. Usually there were acoustical screens (not so high as to prevent them from seeing and hearing each other) between the musicians in the studio, with the drummer generally in the back (I usually have Joe Morello's drums toward the left in my system, on at least Take Five) and the others set up as they preferred to perform the music for the recording. Each instrument was individually miked on its own track, and the screens were intended to keep the sounds of one instrument from getting through to the tracks of the other instruments. Their final placement in the soundstage on the record was really in the hands of the producer, therefore. I would also say that for rock especially and jazz, except in the case of purist recording companies such as Chesky or live recordings, today's soundstage for those genres is the same, in the hands of the producer--hell, many rock albums have tracks cut individually and blended on the console/computer, rather than the whole band performing together.

actually, its DABE!!!! you bozos!!!!!!!!

Picking up on Rcprince's point where Russ leaves off, recordings like "Time Out" were recorded in the early days of stereo as a commercial sensation in reproduced sound. There was felt to be an imperative in those days to really "show" the music consumer the stereo difference - hence mixes tended to exagerate separation to the extent that instruments seemed to come from one channel or the other, with something (often the vocal if there was one) mixed to the center. Remember, a lot of the home stereos sold at that time were console types, so both channels were often located in one longish cabinet, but not with the degree of physical separtion that's usually used for individual L/R speakers. Played back on a modern system, these early stereo jazz and pop multitrack studio recordings typically display the kind of unaturally diced-up and isolated 'multi-mono' soundstage that you notice, whereas classical orchestral recordings of the same period were recorded in live performance in a concert hall from a more distant perspective, using minimal, true stereo microphone techniques.

Tvad: Yes.