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I suppose I should add that Mike has recorded in SMIF on many occasions and knows where to place the microphones.
And avert your gaze Keith....he uses valve microphones which are a replica of a 50 year old design because they sound better. Don't believe me? If you go to the Wam Show I can give you a 24/192 recording made of a voice with the best SS microphones ( as used at the Beeb) vs this old warhorse.
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I must have confused people. We were in St Martins in the Field, the orchestra were about 20-30 metres away and we heard them live.
The headphones were from the microphone feed to the digital recorder and that was in the church hall. This was a difficult recording as there was no recording booth, Mike was in the church hall and had to get it right during rehersals. During rehersals, we were near him and we heard them live and he generously handed over the phones so we could hear what was be
Your last paragraph highlights an interesting point because quite often we get a ‘better’ perspective at home than at a concert hall - not least because not everyone can sit in the best seats!
Once again we are somewhat at the mercy of the recording engineer’s value judgments over the relative prominence of instruments, and where they appear. I’m sure this is why there are fans of particular recording approaches such as the historic “Living Stereo” and similar techniques.
I was onc
The only fidelity really possible is to the recorded signal. But using good minimally mic'ed recordings of acoustic unamplified instruments can be used to evaluate realism.
I have a couple of recordings of concerts that I attended, but unfortunately the mic'ing technique used is not fit for purpose, unable to capture the event from the listener's perspective.