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Old 5th Mar 2020, 3:10 pm   #63
Welsh Anorak
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Join Date: Apr 2005
Location: North Wales, UK.
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Default Re: "Technically augmented stereo"

Ref post #61. I think it all depends on the performance. A crossed pair of microphones in front of a choir or orchestra has much to recommend it - after all the balance of a symphony orchestra has been perfected over years of live performances.
However, in the world of pop music things are different. You could argue that Spector's work in the Sixties was a faithful reproduction as he tended to have the majority of the 'wrecking crew' in the studio at once, though of course different tracks were used. The same could be said of the classically trained George Martin, though he was quick to embrace new techniques.
Then producers like Joe Meek came along and treated the mixer and recorder as instruments in their own right experimenting with sound processing. So there then came the problem in the seventies of recreating the studio sound for an expectant live audience, which could prove difficult. Tony Banks of Genesis, for example, found it almost impossible to play Forth of Fifth live - not because of any lack of aptitude on his part, but because it was so difficult! Then came the 'what if....we used the recording of a certain instrument and the others play over the top?' That all led to the miming that's prevalent even today. To their eternal credit, Jools Holland and Bob Harris would never have anyone on his show that weren't able to play live, and this ethos perpetuated in the BBC live performances.
Some years ago I was involved in a large concert (not performing, you understand!). Topping the bill was a certain member of a very famous girl band. She came in by limousine, stepped on stage, mimed everything, then jumped back in the car and was gone. But the fans loved it!
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