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Administrator
Administrator
Unfortunately, I had also recorded the third movement but it was lost, so I am only posting the first two movements and the cadenza. This one is also to be added to the Mozart section. Please post your material as well. Let's try to fill up the Mozart section too!
Member
I had played the K.330 but I never recorded it...
Administrator
I had recorded the 330 somewhere but I can't find it anymore...
Member
It feels like I've already listened to this concert... Wasn't it in that discussion where there was that imbecile who started acting as the defense attorney for lost causes? The one who wrote things like that. I don't remember what his name was.
Member
In any case, I renew my compliments. Then one day explain to us how you managed to record with the orchestra already recorded.
Administrator
Exactly Stefano, but let's not reopen the wound.
To record it, the discussion is long and complex and I don't have much time right now. As soon as I have a moment of respite, I'll tell you. In any case, it's an immense mess. It takes a lot of time and it's also difficult to keep up with the record. Often the record doesn't have those temporal fluctuations that you would want to achieve with the piano, so you have to bend it to your needs, and even to do this, a lot of time must be lost. In essence, you have to do a bit of the conductor's job digitally. Despite this, it remains difficult to play along with a record without any kind of reference, even though it is recorded using several takes. Often the take is very long and things become even more complicated.
Member
Fantastic! How did you do it? It's wonderful!!
Administrator
When I have time, I will show you something. It is likely that I will make a short video, since right now I am recording the first one for Mozart's piano and orchestra, K. 37. It will be easier to explain the process having to do it all over again.
Moderator
Simo, I renew my compliments and remember with pleasure when we first spoke about this concert, which will amaze you in the texture of the form!!!
Administrator
Yes, this is the concerto I like most, along with the 488 that I plan to study and record. I remember being amazed by the fact that Mozart had presented all the thematic elements of the concerto in the introduction. In short, a sort of summary. Genius!! For the moment, I wanted to go for something more cheerful and thought about putting on the first K. 37. There is a lot of work to do, but it's also sounding very good. I recalculated all the environmental variables to make it as realistic as possible. I published a snippet on Facebook. Take a look if you feel like it.
Administrator
As promised, here is a video of the procedures for recording a piano and orchestra concert. Obviously, it is only a summary. I hope you find it useful.
Member
Did you realize what a little room and what equipment TheSimon has? Anyway, you're a genius, damn! I can't wait for you to finish recording so I can listen to it.
Administrator
Regarding the small room: nothing but sweat !! Here you go, satisfied with the first movement for now. As I record the others, I will update.
Member
What does 'only sweat' mean? Did you build it?
Administrator
Not the walls, a bricklayer made them for me; they are made of plasterboard insulated with 8 centimeters of rock wool. I did the electrical system myself, the audio/video one (which must be separate), and the room normalization. Due to geometric inconsistencies, the environment is not very well-suited as a mixing/mastering room, and to make it sound good, I had to spend quite a lot of time and also a fair amount of money.
Member
Bravo Simò, I don't remember listening to the first movement of this concerto in the past; it made a great impression on me, as did the work on individual sounds and the orchestral sections.
In the first few minutes, I thought the reverb was slightly excessive, but then at a moment when the orchestra stops playing, it is clearly perceptible that the reverb decay is well-calculated.
Member
How envious!
Me, still using the Voyetra Orchestrator and external expanders (JV 1080 and others), I should just hide myself.
Member
Dear Terenzio, I think that at our age almost all of us should hide.
These are young people, they came out of the womb already with computers and tablets in hand, they think too fast for us. I think that if I were to start studying now to be able to do that stuff, I would need at least another couple of lifetimes. We were left with the saying "he sings and plays his own tune" when talking about someone talented. These kids, they sing it, they play it, they arrange it, they program it, and they direct it.
The bad thing is that some of us still hold important work positions because the more time passes, the more they push back retirement, while these young people—who make us feel as small as Smurfs if they pass by us—are just wandering around. This is the serious thing!
Member
An old and wise friend of mine used to say that old age begins when one loses interest in novelty and in experimenting with it.
For me, getting my hands on The Simon's equipment would give me great pleasure, but the real trouble is that there are always only 24 hours.
A few days ago a nephew of mine said to me: Grandpa, are you always busy?
Member
Interest can fade even in "more dramatic" situations, such as if one suffers from depression or mood disorders.
Let's say that the motivations can be natural or due to "force majeure."
Mine is not intended to be polemical, but merely an addition to a saying that turns out to be (sometimes) yes correct, but not mathematically so, therefore it can also prove to be, and not infrequently, the opposite.
This is demonstrated (as Terence himself asserts) by the question his nephew asked him.
