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Originally Posted by
Bydlo
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David, thanks for sharing your knowledge. Do you think that an good interface's preamp, is good enough to record the most difficult things in classical? A symphonic orchestra playing post romantic symphonies? Is it in headroom the difference?
Yes, and yes. Plenty of very famous classical records were recorded with gear that is nowhere near as transparent as we have today. That doesn't diminish their musical significance, which always comes down to musicianship. If we also admire them from a sonic standpoint, it's due to the skill of the engineer and producer. Every single recording you will ever make will require trade-offs and judgement. We all have equipment preferences but, in the end, the available equipment is just one of many constraints that apply to each session. The hall is a bigger constraint. Your mic locker is a constraint. For orchestra sessions, schedule is usually a
huge constraint. Sometimes, you just choose the "devil you know" and get on with things.
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As you said this interfaces has a very linear clean gain preamp, distortion is very low and so noise... considering you work whit condenser mics like an U87ai. Do these interfaces stand against an orchestra?
I actually don't like U87's very much, so I don't own any of my own. I mostly use SDC's for classical work. I do own some Neumann mics and some other very interesting LDC's that get used for studio sessions. You can see the complete inventory list by looking at my profile.
Being restricted to interface preamps would
never be a reason for me to turn down a tracking session in a good hall with a great ensemble.
David