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Clara Ambrose
Clara Ambrose covers acoustic music, jazz and classical for AcousticMusic.News. Writes about performances captured rather than constructed, and what it takes to record an instrument honestly.
The benefits are real and mostly not the ones cited in marketing.
A continuous quiet sound with no transient defeats most of the usual drum recording approach.
Compression that suits pop actively removes what acoustic music is doing.
Dreadnought, orchestra model, parlour. The differences are audible and predictable on a recording.
A large instrument producing low frequencies in a small room is the hardest thing to capture in...
A released performance is usually edited from several takes. The practice is old, disclosed and defensible.
A guitar radiates different sound in every direction, so placement changes the instrument.
A main pair carries the recording. Everything else is a supporting decision.
The microphone bleed everyone else tries to eliminate is the thing holding the recording together.
