[Dixielandjazz] Recording Jazz

[Ron L'Herault]

I'm pretty sure the desire for isolation is so that the recording engineer
can repair/replace/re-record, eliminating or reducing the need for multiple
"Takes".

Ron L
-----Original Message-----
From: dixielandjazz-bounces at ml.islandnet.com
[mailto:dixielandjazz-bounces at ml.islandnet.com]On Behalf Of David Ward
Sent: Thursday, January 29, 2004 12:54 AM
To: Dixielandjazz at ml.islandnet.com
Subject: [Dixielandjazz] Recording Jazz


Having read the various postings re. above I thought I may add my thoughts
on the subject.
I believe that the best recordings are made when the musicians involved are
playing in positions where they can both see and hear each other, each one
miked up and mixed by someone who knows their jazz and how it should sound.
If it can be done in an auditorium with an audience so much the better.
Interaction between the musos and the audience results in a much more
exiting performance than in a situation where the recording engineers have
everyone separated.
As well when mixed on the spot on to two track using simple gear,the result
is a good clean recording.  You only have to listen to the early electric
recordings of Louis and Bix to hear the cleanliness of simple recording
methods.
Balance is important but it is not the only thing that matters, so why do
recording studios demand what they do just to eliminate splash. Maybe
someone could let me know.
I have been recording bands for years including my own band, the Waterfront
Cafe Band, and would always put a live recording mixed at the time ahead of
one done in a studio and mixed later.
David Ward
Waterfront Cafe Band
Sound Engineer for the Victorian Jazz Archive.
Australia
Phone (03) 9592 1444
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