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Prokofiev Piano Sonata No. 6

Discussion in 'Acoustic Keyboards' started by David French, May 21, 2006.

  1. aracu

    aracu Active Member

    Sep 27, 2005
    In each example, the recording process has become
    part of the process of musical interpretation. The first
    example draws attention to detail and the beautiful
    sound of the piano, seeming to probe inside the
    instrument and performer. It brings out an emotional
    warmth and gives a good idea of the lovely sound
    qualities of the Royer. The second example has a
    slightly hazy, blurred, impersonal character. Maybe
    the outrigger mics are turned up or maybe the Royer
    is further away. This version adds to the trancending
    "religious" quality of the music inherent in the composition,
    and sounds appropriate to it. The piano sounds unified with
    the space of the hall.
  2. Cucco

    Cucco Well-Known Member

    Mar 8, 2004
    Tacoma, WA
    Amazing recordings David!

    Please pass on my compliments to the artist - he is an amazingly talented young performer!
  3. JoeH

    JoeH Well-Known Member

    Jun 22, 2004
    Philadelphia, PA/ Greenville, DE
    Home Page:
    I agree with aracu's comments, which I read only AFTER listening to the clips.

    What a wonderful recording, instrument, and artist. (not nec. in that order! ;-) )

    Wonderful job, David. To me, this is a definitive piano recording, a perfect example of what is possible with today's technology. And it makes me all the more eager to own my own SF24 - instead of borrowing/renting an SF12 here.

    BTW: if I can get permission, I'll post the very same Chopin Etude (I think it's #10 in C??) that I have here, with Cameron Carpenter performing it on Organ at the Kimmel Center here. Same music; VERY different approach.
  4. DavidSpearritt

    DavidSpearritt Well-Known Member

    Jan 9, 2005
    Brisbane, Australia
    Home Page:
    Yes, young Jayson is a very talented man, he tossed off the entire Chopin Opus 10 Etudes, one after the other, without blinking and all from memory of course.

    Looking at my notes from the second example with the Schoeps, here are the dimensions.

    1. Piano was parallel with stage, (concert position), tail not towed around.
    2. SF24, on centreline, 2250mm from front leg, 2380mm high
    3. MK21's on one stand, on centreline, 3180mm from front leg, 3200mm high, separated 400mm

    I liked the results from both these recording sessions, the first is softer and sounded wonderful in the Bach and Ligeti pieces, the second recording is harder with more brass, and I preferred it for the Chopin Etudes.

    There is still more experimenting to do, and some things need to be improved, but I am converging on a good technique I think. The MP3's do not do the recording justice, its quite exciting in full res.

    The second session was done with synched video as well and DVD's were made for international auditions. This was the reason for the outriggers on one stand, we didn't want any mics or stands in the video frame.
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