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In Reply to: Mono 'electrical' recordings seemed to work quite well - how many mikes were employed? Also - Early PA systems? posted by freddyi on October 17, 2000 at 15:00:11:
I answered this question in a slightly different forum and a different form tonight, but you have a different slat here- in a small room, less sound reinforcement is needed- a loud vocalist can reach to the balcony, so the mic is used primarily (if not only) for recording. In public address, the speakers were kept far enough away from the mics to prevent acoustical feedback.
One mike, placed properly, can be an excellent source for recording- put it where the conductor is, and you hear the balance as he heard it. Add more mics, and you add more "color", which can be good or bad. Stereo recordings can sound great through left and right speakers or headphones, but drastic phase differences when summed to mono can render them disgusting. In the good old days, when the recordings were only monitored on one speaker, or mono headphones, those problems were automatically "mixed out"- add this or that mic, sounds bad, don't use it, add it in and it makes a highlight, use it. The old mixers seldom had more than four inputs to one track (recording), so it was a bit harder to get into serious trouble than now, where 32 tracks and far more inputs are common. Plus, it was all tubes amplification- even order harmonic distortion ruled, rather than the horrible odd- ordered harmonics generated by the early transistor stuff. It might also be argued that in the early days of amplification, it either sounded real or not- the engineers knew the difference. Now we hear so much more recorded and amplified stuff than ³live² scource that it is harder to remember what was live and what was Memorex- they both came through the same four inch TV speaker.
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Follow Ups
- Re: Mono 'electrical' recordings seemed to work quite well - how many mikes were employed? Also - Early PA systems? - A.Welter 00:36:32 10/31/00 (0)
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