Rooster_Ties Posted December 6, 2004 Report Share Posted December 6, 2004 (edited) First, a BIG thank-you to Jim (A.) for participating in this wonderful thread!! I'm outgunned with musical/recording discussions this technical. And my cheap stereo equipment (and not just relatively cheap, but relatively "cheap" cheap ---> $150 executive bookshelf CD systems by Panasonic, Aiwa, etc...), always means I always have less of a frame of reference for discussions that are of an audiophile nature. That said, I wanted to say how much I'm enjoying reading a thread like this (for a change) - where audio considerations are very "real" in nature (even if they are somewhat technical) -- so much so, that even I can relate to them. The one topic that's just come up here, which I feel strongly enough to chime in on, is the issue of "isolation". I suppose, to a large degree, it's used in most modern studio recordings these days. But often, it seems that this is the very thing that can kill the enjoyment for the listener, and even impact the quality of studio performances. Take a recording like McCoy Tyner's "New York Reunion" (Chesky, 1991). I'm not trying to pick on it in particular, nor am I picking on any of the technical folks that worked on it. It is but one of a thousand of examples of a perfectly good studio recording that simply sounds too "good" – at least to my ears. When I listen to this release (and those like it), the sound is so pristine -- so perfect -- that it really is almost distracting. I can't imagine a performance space that sounds anywhere near what my ears hear. Every instrument is perfectly balanced, 100% of the time, and everything is just too damn perfect. Another example, again not to pick on it in particular (cuz there are many more examples like it), is the Woody Shaw Mosaic (especially the large-ensemble stuff). Every instrument sounds like it was recorded in its own separate space -- to even more of an extreme than the previous McCoy Tyner example. Do the musicians in most recording situations where extreme isolation is employed, even have real sight lines to each other?? Much of what makes a jazz group work, is the almost telepathic nature of the interplay of the musicians -- except I imagine quite a bit of that "telepathy" is a product of visual cues (even those not overtly communicated). Think of a soloist, eyes probably closed, and those in support roles who rise and fall with the soloist (in intensity) -- yes, of course based on what they're ears tell them -- but also (I would have to think), based on their eyes observe as well. How to turn my rambling post into a question... Well, I guess I would be curious to hear from Jim and the other engineers here -- and from musicians too, who have done studio recordings -- how they compensate for these issues, particularly "isolation" booths, or similar situations. Edited December 6, 2004 by Rooster_Ties Quote Link to comment Share on other sites More sharing options...
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