I was having trouble responding to your post Mike, for a while now. All seems well now....?

Anyway, I'm glad to read about the AGO article; I'll definitely have to pick up this month's issue.

The mics in question are most likely those used by ONDINE (a record company from Finland that is now recording the Philadelphia Orchestra.) They have a contract to record literally everything the Philly O does, and has plans to make between two and three new CDs per year. In most cases, it's gotten easier to just leave them up most of the time.

JoeH wrote:
The mics in question are most likely those used by ONDINE (a record company from Finland that is now recording the Philadelphia Orchestra.) They have a contract to record literally everything the Philly O does, and has plans to make between two and three new CDs per year. In most cases, it's gotten easier to just leave them up most of the time.

Thanks for the info, Joe. The pics aren't that conclusive, but the mics in the hall look like they might be Gefells. I also spotted a curious note on the Ondine website:

"The Philadelphia Orchestra announced today the details of a new partnership with Ondine Records. The three-year agreement – the Orchestra's first recording contract in 10 years – includes a yearly extension option and calls for a minimum of three recordings to be released per year. The Orchestra will record, edit, and produce the recordings, which will be taken from live concerts, and Ondine will manufacture and distribute the final product to an international market."

It sounds from this like the actual recording and production will be done in-house locally, and that Ondine justs makes 'em and sells 'em. Kinda strange...? If true, it's likely the orchestra's gear hanging in the hall, maybe?

Mike

I think that press release is a little outdated, in so much as that was the original plan, when it first was announced. Since that time, it's my understanding that they've taken over the entire process and are doing it themselves, with Eshenbach's full cooperation/participation.

That may be "local" in the sense that their hired engineer does the work, the temps, the edits, etc. all here, with the Maestro. Then of course, it all goes back to the company - or wherever they send it - for the mastering/replication, etc. He/she could be working out of a rented apartment or the recording booth in Verizon hall itself, I don't know.

I'll be stopping in to Verizon Hall today, and will take a closer look at what's hanging there, btw. Last I was there, it seemed to be all DPA's and Schoeps, but if I have a moment, I'll look closer this time.

Who's doing that recording work now?
Does anyone know?

I suppose that George Blood is no longer doing it?

I think I read that a lady engineer from Montreal was doing the work.

any news is appreciated in these final days of the classical recording business. :P

Plush wrote: Who's doing that recording work now?
Does anyone know?

I suppose that George Blood is no longer doing it?

I think I read that a lady engineer from Montreal was doing the work.

any news is appreciated in these final days of the classical recording business. :P

By who's doing that work, I assume you mean who's doing the actual editing? (Yes, I've heard there's a woman - name escapes me - doing it, but I haven't met her.) George Blood is no longer recording the Philadelphia Orchestra in Verizon hall, and it's quite a tale, but I wouldn't comment on it publicly. George is a great engineer and a good colleague; I've seen him put up with quite a lot over the years.

I'm recording the Philadeplhia Singers with the Mannes College of music performing Missa Solemnis, featuring the new organ in 2 wks. I'm sure we'll have to work with them (Ondine) on the mic placement and/or share the rig.

As for the "Final Days of Classical Recording Business", I'm not sure what you mean exactly.......??

Hello Joe,

In continuing my original post, I'm just wanting to know who is doing the actual recording at the PHilly hall? Who's settting the mics, balances and who's in charge?

My reference to the final days of the classical music recording business is meant to be darkly humorous. Certainly the business landscape is vastly changed from even 10 years ago. My reference to the "final days" reflects this change which is evidenced by major orchestras off the air, stupid rate cutting by engineers, lack of skill and lack of sponsorship for valuable projects.

Thanks,
Best from Chicago,
Plush-Phonic