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195 Posts
Yes! So happy that this series is back.
I was taking a break and listening to a lot of other stuff, but yes, it's backYes! So happy that this series is back.
Just bought it for a quarter at the local library sale. Now I feel even better about my purchase.Basically, you can't go wrong with this compilation. I think it's pretty close to a "must own."
Yeah, that's a pretty good return on investment in terms of pleasure:cost.Just bought it for a quarter at the local library sale. Now I feel even better about my purchase.![]()
They have very different recording philosophies. In general, Living Stereo recordings involved just a few microphones, which at its best (e.g., the Boston Symphony recordings) gave a realistic-sounding image of an orchestra in a hall. In contrast, Phase 4 involved many microphones ("spot-miking"), which caused single instruments (such as a clarinet solo) to sound just as loud as a full orchestra. I much prefer the Living Stereo method; the only Phase 4 recording I've kept around is the Stokowski/LSO Scheherazade, and only because I love the performance enough to overlook the multi-miking.I don't know whether "Living Stereo" is supposed to be any better that "Phase 4 Stereo" or not.
Yes, spot-miking, highlighting can produce some stunning results, but they are often very unnatural sounding....instruments popping in and out of the sonic texture, weird balances, unrealistic dynamics.....I tend to favor fewer mikes, strategically placed - it shows more accurately the actual sound produced - which musicians are projecting, what sound is actually "hitting the mike" xxx feet out from the stage....Decca/London was [in]famous for the spot and multi-miking - esp noticeable in the Mehta/LAPO recordings of the 60s....also the Phase 4 recordings....They have very different recording philosophies. In general, Living Stereo recordings involved just a few microphones, which at its best (e.g., the Boston Symphony recordings) gave a realistic-sounding image of an orchestra in a hall. In contrast, Phase 4 involved many microphones ("spot-miking"), which caused single instruments (such as a clarinet solo) to sound just as loud as a full orchestra. I much prefer the Living Stereo method; the only Phase 4 recording I've kept around is the Stokowski/LSO Scheherazade, and only because I love the performance enough to overlook the multi-miking.