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Roger was using a Mirafone 184 and Tommy a 185.

-W

I really hope that the CD in my collection (LA Phil, Mehta, 2-disc set including Planets, Star Wars, and Also Sprach Zarathustra, on the London label) had some production problems, because if there's another one that doesn't have clipped peak signals and artificial-sounding stereo manipulation (especially two notes after that D#, when the tympani comes in), I'd like to hear it.

Maybe it's the now-thirty-year-old technology at the time of recording that causes these problems. But, I find it interesting that it sounds like the engineers put microphones on every instrument, and in unnatural-to-the-audience positions like right in the tubas' bells.

Again, as I've said before, I feel weird being apparently the only person on here that doesn't really like this recording.

Leland wrote:I really hope that the CD in my collection (LA Phil, Mehta, 2-disc set including Planets, Star Wars, and Also Sprach Zarathustra, on the London label) had some production problems, because if there's another one that doesn't have clipped peak signals and artificial-sounding stereo manipulation (especially two notes after that D#, when the tympani comes in), I'd like to hear it.

Maybe it's the now-thirty-year-old technology at the time of recording that causes these problems. But, I find it interesting that it sounds like the engineers put microphones on every instrument, and in unnatural-to-the-audience positions like right in the tubas' bells.

Again, as I've said before, I feel weird being apparently the only person on here that doesn't really like this recording.

it must have some kind of production problem, cuz my identical copy of that recording doesn't have any kind of clipping. there was no problem with the technology they used to make the recording. the only thing that sounds unnatural is the amazing power & in-tune-ness of Mr. Johnson and Mr. Bobo playing that low E. I remember the first time I heard it I was in awe because I had never heard tubas sound like that. It's centered, in tune, and loud as all get out. Maybe try it in another stereo or see if you can find another copy of it to listen to.

-ck

bloke wrote:I've consistantly found San Francisco and Toronto recordings (in particular) to offer technical clarity, ensemble, audability, musicality, subtilety, bravado, and other characteristics that I like to hear in performances.

I second that vote on the San Francisco recordings, particular those of Hindemith and Neilson. As well, the Montreal Symphony Orchestra (those with Charles Dutoit conducting) are usually excellent as well.

I haven't heard many Toronto recordings. Bloke, could you provide a few examples of your Toronto "best picks" for future reference?

Leland wrote:Maybe it's the now-thirty-year-old technology at the time of recording that causes these problems. But, I find it interesting that it sounds like the engineers put microphones on every instrument, and in unnatural-to-the-audience positions like right in the tubas' bells.

I meant to mention also.... I agree that the miking is too close. it sounds very much like a studio recording and not so much like I think a symphony recording should sound. it sounds dry and soloistic instead of warm and ensemble-istic (if that makes any sense). so I agree in that sense, but I still don't think there's clipping or artificial sounds.

-ck

"London ffrr" (or whatever was the combination of f's & r's...)

I think you got it right, Bloke.

If memory serves, it was an acronym for "full frequency range recording"

For an interesting perspective on this topic from Chicago Symphony Orchestra principal trombone Jay Friedman, head over to his website:

http://www.jayfriedman.net/reflections/ ... matter.php

And scroll down to the text that begins:
"I would like to finish this column with some comments about the recordings we made with the CSO and London records with Georg Solti in the 1970's and 1980's."

tubacdk wrote:... it sounds very much like a studio recording and not so much like I think a symphony recording should sound.

Yup, that's what I'm hearing. Some other symphonic recordings I've got sound like I'm sitting at the front edge of the balcony (which happens to be only fifteen yards or so from the stage) with a broad-yet-clear symphony orchestra almost just past my feet. This LA Phil recording sounds like a bunch of studio channels being run through a mixer.

The clipping doesn't happen often, but it's in there sometimes. In one instance, it's that bit of fuzz in the right side when the tympani has that lick at 0:15-16 of Uranus (since we're on that movement). All it takes is one input to be too hot, and stuff gets wrecked. Plus, that tympani always sounds front & center, with almost zero ambiance -- just unnatural. It's like I'm hopping from player to player, and frankly, it's almost disorienting.

I feel like such a brat, complaining about Mehta conducting the LA Philharmonic... I'd view my gripes as a frustration that a perfectly good performance was, to me, lost in the recording process.

Blow_Don't_Suck wrote:Does anyone know where I can get a copy of the LA Phil recording?

http://www.amazon.com/exec/obidos/tg/de ... =classical