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Hi,
I know that with the pianos the Synchron stage has been used in its wide position.
I wonder however if the orchestra has been recorded in the wide or narrow positioning.
This is also to know the best match when combinining SY and VI libraries using the Teldex room with the latter ones.
Paolo
We have been told back then that the "wide" orientation is hardly used at Teldex. I seem to remember that I even added a draft to the Venue Manual, supplied by the guys running Teldex, which outlines a typical setup ... (leaves for searching 8-) ...)
... yes, there it is:
-> https://www.vsl.info/en/manuals/mir-roompacks/roompack2#venue-maps
Just scroll down a bit to see it.
I seem to remember that I even added a draft to the Venue Manual, supplied by the guys running Teldex, which outlines a typical setup ... (leaves for searching 8-) ...)
Ah, nice! It's not the same setup as a typical concert hall, but studio setups are usually peculiar to the studio.
I'm growing more and more interested to the Synchron stage in wide position. I don't yet have that roompack, but I'm liking the Synchronized sound, and the venue previews you published in your web site.
I wonder if the DGG records with the Wiener Philharmoniker of the 60s and 70s were recorded there. Thinking about von Karajan: his records with the Berliners sound fat and full, dark and bass-heavy; with the Wieners it is all somewhat more transparent, while still sounding full. I wouldn't be surprised if the ones in your catalogue are the rooms these recordings were made in the respective towns.
Paolo
I’ve seen that the classical concerts conducted by Johannes Vogel at the Synchron Stage see the orchestra set in the narrow position of the hall. By doing my tries with MIR, I would say that this produces the "darker" and "warmer" sound.
So, it seems that soundtracks and samples go for the brighter setup. Care to elaborate on the differences between the two positions for the different types of music?
Paolo
Paolo,
For what it's worth, I asked Dietz a while back about matching MIR Pro to Synchron samples, and he told me that the MirX "Synchron A Wide" preset was designed to match the "Surround to Stereo Wide" presets in the Synchron Player mixer. (After playing around with it, I can confirm the two presets fit like a glove, although tweaks are necessary if the default reverb in Synchron is disabled) FYI, in case that ever comes up for you!
The sound of the hall is what it is, and the mics present these acoustic aspects.
Dietz, it's probably self-suggestion, or the way sources are placed in the room, but I have the impression the room doesn't sound the same in the narrow or wide position. But I guess it would sound as different in the same orientation, but with sources moved in a different position.
Paolo
Well, of course the hall will sound slightly different when listened to from a different position, in a different viewing angle. Like mentioned before, the original "portrait" setup (with the so-called orchestra shell in the back of the players) is all about depth. As soon as we flip to "landscape" orientation, "depth" becomes "width", and the now closer reflective back-wall becomes more obvious, adding to a brighter impression overall.
