@ Speedy,
ja, besser wärs, und ab und zu wird es auch so gemacht:
Quelle:
Jonathan Scull interviewt Telarcs Jack Renner
(ist auch ansonsten interessant zu lesen)
Gruß
P.S. Und nein, Jack Renner ist nicht der einzige Verblendete, der nur als Ausnahme von der Regel zu gelten hat....
ja, besser wärs, und ab und zu wird es auch so gemacht:
Scull: What's the secret to making a really good recording, Jack?
Renner: Well, it all really comes down to the signal path and, I think, to the combination of components. For years, when I first started making orchestral recordings with three and four microphones, I had a lot of imitators. But people just didn't quite get it right. Because it's not just putting up three or four mikes. It's which mikes you choose, it's the cable, it's the electronics—it's the whole signal path.
Renner: Well, it all really comes down to the signal path and, I think, to the combination of components. For years, when I first started making orchestral recordings with three and four microphones, I had a lot of imitators. But people just didn't quite get it right. Because it's not just putting up three or four mikes. It's which mikes you choose, it's the cable, it's the electronics—it's the whole signal path.
Scull: Is the mixer tweaked in any way?
Renner: We have used hot-rodded consoles. We had one that was internally wired with Monster Cable that we used for a long time. In fact, a number of years ago we were recording the Cincinnati Pops and the Monster Cable console went down—nothing to do with the fact that it was wired with Monster Cable, of course.
Scull: Of course...
Renner: We actually use a combination of Monster Cables and MIT. We're good friends with both Noel Lee and Bruce Brisson.
Scull: Imagine...
Renner: So a component failed in the middle of a session. We had a backup console from the same manufacturer, Neotek, and it took us only 10 minutes to set it up. Now understand, we've got a signal that's spent its whole life from the microphone output to the A/D going through Monster Cable. Then we switched to the console with the standard cable in it. And the minute I brought up the fader, everybody in the control room—not just my technical assistants and the producer, but the orchestra manager, the musicians who weren't in that particular number—they all said, "What did you do, what happened to the sound?" Everyone could hear that the soundstage got smaller. Everything just got a little more narrow and not quite as bloomy. If you ever needed a demonstration of the effects of high-performance cable, that was it.
Renner: We have used hot-rodded consoles. We had one that was internally wired with Monster Cable that we used for a long time. In fact, a number of years ago we were recording the Cincinnati Pops and the Monster Cable console went down—nothing to do with the fact that it was wired with Monster Cable, of course.
Scull: Of course...
Renner: We actually use a combination of Monster Cables and MIT. We're good friends with both Noel Lee and Bruce Brisson.
Scull: Imagine...
Renner: So a component failed in the middle of a session. We had a backup console from the same manufacturer, Neotek, and it took us only 10 minutes to set it up. Now understand, we've got a signal that's spent its whole life from the microphone output to the A/D going through Monster Cable. Then we switched to the console with the standard cable in it. And the minute I brought up the fader, everybody in the control room—not just my technical assistants and the producer, but the orchestra manager, the musicians who weren't in that particular number—they all said, "What did you do, what happened to the sound?" Everyone could hear that the soundstage got smaller. Everything just got a little more narrow and not quite as bloomy. If you ever needed a demonstration of the effects of high-performance cable, that was it.
Jonathan Scull interviewt Telarcs Jack Renner
(ist auch ansonsten interessant zu lesen)
Gruß
P.S. Und nein, Jack Renner ist nicht der einzige Verblendete, der nur als Ausnahme von der Regel zu gelten hat....
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