Re: Recording engineering

[afcpeters@aol.com (AFC PeterS)]

In article <01HCMB0G7YUIANBFXW@ccmail.sunysb.edu>,
PMANCHESTER@ccmail.sunysb.edu (Peter Byrne Manchester) writes:

> Actually, I'm not a valve and bonnet sort; I just have a name that
> sounds like I should be.  I was born and lived most of my life in
> California.  Tomato rhymes with potato, like it should.

Ah. It's just that you also spell analog as "analogue," so I jumped
to a conclusion. :) Mea culpa.

> I checked out of any direct contact with recording when multitrack
> was followed by the near-complete abandonment of *acoustic* stereo
> and the microphone techniques associated with it. 

There's no reason why good, true stereo recording technique can't be
combined with some of the more deliberate artifice that's been in
vogue since, oh, Revolver. You still get real stereo in most live
drum recording, at least on the overheads, and it should be used for
most acoustic instruments. I think it depends what the producer is
going for, but too many people pass it up out of ignorance, rather
than informed choice.


Peter Stoller

PS: Sony SuperScope! Yeesh.