How many mics for a typical orchestral recording out in Hollywood? Where would they put them. One 
thing I notice consistently is that there's too much bow-and-string for the cellos and basses, like 
there's a mic too close in there. But not a bad balance most of the time and sometimes I can't 
believe that's a "pick-up band" playing. Why did they have Walter and Szell covering so much same 
and similar material in such close chronological proximity?

-- Tom Fine

----- Original Message ----- 
From: "Gray, Mike" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Thursday, March 31, 2011 2:09 PM
Subject: Re: [ARSCLIST] Bruno Walter - Columbia Symphony stereo-era recording details


> The photos in the booklets show the 30th Street sessions of the mid 50s - when stereo came, they 
> began using C-12's (at the recommendation of George Szell) and M-49s, but mostly C-12's.
>
>
> Mike Gray
>