Post by hiredfox June 29, 2012 (1 of 12)
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This from Everett Porter at Polyhymnia via e-mail. I'm sure he'll not mind my sharing it on this forum...
"Rest assured that there are many RCO Live recordings in the pipeline, and that they are being recorded in hi-res and will be released on SACD. We're also busy with a blu-ray project of all of the Mahler Symphonies, which will also be hi-res audio and video. Though there haven't been many releases lately, we have been recording lots!
I wish I could give you more details, but I must leave that to the Concertgebouw orchestra and their distributors.
Hope you enjoy the releases once they arrive -- and thanks for your (sic) patience!"
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Post by Chris June 30, 2012 (2 of 12)
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hiredfox said:
This from Everett Porter at Polyhymnia via e-mail. I'm sure he'll not mind my sharing it on this forum...
"Rest assured that there are many RCO Live recordings in the pipeline, and that they are being recorded in hi-res and will be released on SACD. We're also busy with a blu-ray project of all of the Mahler Symphonies, which will also be hi-res audio and video. Though there haven't been many releases lately, we have been recording lots!
I wish I could give you more details, but I must leave that to the Concertgebouw orchestra and their distributors.
Hope you enjoy the releases once they arrive -- and thanks for your (sic) patience!"
Dear hiredfox, you are aware aren't you? That most probably,the upcoming ones will have been recorded in PCM. RCO LIVE have only released a few DSD recordings.
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Post by diw June 30, 2012 (3 of 12)
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hiredfox said:
This from Everett Porter at Polyhymnia via e-mail. I'm sure he'll not mind my sharing it on this forum...
"Rest assured that there are many RCO Live recordings in the pipeline, and that they are being recorded in hi-res and will be released on SACD. We're also busy with a blu-ray project of all of the Mahler Symphonies, which will also be hi-res audio and video. Though there haven't been many releases lately, we have been recording lots!
I wish I could give you more details, but I must leave that to the Concertgebouw orchestra and their distributors.
Hope you enjoy the releases once they arrive -- and thanks for your (sic) patience!"
I am happy to hear this and would like to see new releases, hopefully other than Mahler
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Post by seth June 30, 2012 (4 of 12)
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diw said:
I am happy to hear this and would like to see new releases, hopefully other than Mahler
Agreed.
They've done almost all the Mahler symphonies on SACD. Do we really need them all over again on Blu-ray?
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Post by stvnharr June 30, 2012 (5 of 12)
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seth said:
Agreed.
They've done almost all the Mahler symphonies on SACD. Do we really need them all over again on Blu-ray?
The orchestra completed a complete Mahler symphony series, with different conductors, about a year ago. The label has released the first 6 symphonies, all but the 4th by Mariss Jansons. The last 3 symphonies in the series were not conducted by Mariss Jansons or Bernard Haitink, so likely won't come out on sacd, though it sounds like they will do a Blu Ray edition. I believe the last 2 Mahler releases were also released on dvd as well as sacd.
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Post by chenzl July 1, 2012 (6 of 12)
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Does the recordings still contain applause?
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Chris said:
Dear hiredfox, you are aware aren't you? That most probably,the upcoming ones will have been recorded in PCM. RCO LIVE have only released a few DSD recordings.
Hi Chris
Indeed and Polyhyminia have always been up-front about the problems at the Concertgebouw with limited space and the need to work alongside the radio broadcasting people. The compromise is shared facilities so PCM it must be.
Of course it presents me with a dilemma but as RCO is one of my "home" orchestras, the normal rules of engagement can't apply. My purchases will always include everything by the RCO, the BSO (UK) and everything by Andrew Litton wherever he may be laying his head at the time!
John
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Post by Chris July 2, 2012 (8 of 12)
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hiredfox said:
Hi Chris
Indeed and Polyhyminia have always been up-front about the problems at the Concertgebouw with limited space and the need to work alongside the radio broadcasting people. The compromise is shared facilities so PCM it must be.
Of course it presents me with a dilemma but as RCO is one of my "home" orchestras, the normal rules of engagement can't apply. My purchases will always include everything by the RCO, the BSO (UK) and everything by Andrew Litton wherever he may be laying his head at the time!
John
Hi John, I wonder if basically the same applies to LSO LIVE when they record in for example St Pauls Cathedral.
I like the Mahler 8 recorded there, but it is a pcm recording, and I suppose the hopefully upcoming recording of Berlioz's Requiem will also be a pcm recording.
Anyway judging by the high bandwith BBC Radio 3 broadcast from the concert I will look forward to comparing it to Colin Davis's earlier Berlioz Requiem from Westminster Abbey.
It was a bit slow and with huge forces and a very reverberant even cavernous acoustic. But still very beautiful imho. No tiny Chamber orchestra approach, "the full Monty"!
And I love that.
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Post by tailspn July 2, 2012 (9 of 12)
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Chris said:
Hi John, I wonder if basically the same applies to LSO LIVE when they record in for example St Pauls Cathedral.
Hi Chris,
IMO, the Polyhymnia and Classic Sound Ltd recording philosophies, microphone selection and placement, and overall balance are very different. They yield different results, regardless of which recording format is used. The recording format is like icing on the cake. A perfectionist (me) issue perhaps, but far overshadowed by microphone selection and placement, and mix balance. That's the real art, and each of these production companies practice it differently, and consequently, have a different signature sound.
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Post by Chris July 3, 2012 (10 of 12)
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tailspn said:
Hi Chris,
IMO, the Polyhymnia and Classic Sound Ltd recording philosophies, microphone selection and placement, and overall balance are very different. They yield different results, regardless of which recording format is used. The recording format is like icing on the cake. A perfectionist (me) issue perhaps, but far overshadowed by microphone selection and placement, and mix balance. That's the real art, and each of these production companies practice it differently, and consequently, have a different signature sound.
Hello tailspn,
Oh yes definitely, and what matters equally much imo are the venue and its acoustics. The DSD recorded Barbican LSO Live titles all to a degree suffer from the necessary close miking and dry acoustics of the venue.
The larger the forces the more obvious imo.
The LSO LIVE recording made in St Paul's Cathedral of Mahler's 8th on the other hand is imo clearly better, although it is a pcm recording.
Therefore I am looking forward to hear how they captured Berlioz's mighty Requiem there last week too.
In the Concertgebouw on the other hand,and from Polyhymnia I clearly prefer the only two DSD recordings I have from there.
Bruckner's 8th from Haitink has received some criticism here. Too distant too cavernous according to some. But I find it clearly more natural coherent and better than the pcm recorded 3rd and 4th from the same venue.
I would stick my neck out and say that if someone finds that this recording sounds bad there is something wrong NOT with the recording itself but the system used.
It is imo a very realistic live take of an orchestra in a good hall without excessive multimiking and spotmiking allowed to mess up of the soundstage.
But you need to hear it via a system that is capable of delivering all the beauty actually captured.
The other two Bruckner recordings and most others I have heard from RCO LIVE are less natural imo.The only other exception that I own is Dvorak's Requiem coupled with his 8th symphony which to my ears also sound like they have been recorded in DSD.
In other words, natural silky velvety string sound and not so many mics used in a clear coherent soundstage.
But then again although I prefer the perfectionist approach like you, music certainly comes first and recording quality second, in my case.
But in those rare cases when both interpretation and recording are absolutely superb I am all the happier.
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