tiistai 31. lokakuuta 2017 10.45.03 UTC+2 Brian Gaff kirjoitti:

just that, all stereo recordings would have a better separation, and
ambience,and they don't.

In true stereo recordings (XY pair, AB pair, Jecklin disc, Decca tree, etc you are not looking for "separation". The objective is to capture the orchestra's internal balance with the ambience of the hall in question, with each instrument or section focussed correctly in the stereo soundstage.

If you want separation, you record multitrack, and bricklay, one track at a time. That way you get 100% separation, which enables you to later use cross-pan reverb etc etc.

I can only suggest that the brain here is making
the difference when it hears something that it recognises as 'right' against
the sort of panned multi track stereo you can hear from some close miked
recordings with artificial reverb added here and there. For example it fails
miserably on those old decca Phase four stereo recordings like Two pianos go
to Hollywood with obviously hard stereo panned pianos at either side.

In the Ronnie Aldrich two piano recordings on Decca Phase Four, the pianos are two separate overdubbed tracks in mono recorded with a vintage STC 4021 "Ball and Biscuit" moving coil microphone. (Many different mics were tried, but the STC gave the best Phase Four piano sound) One piano track is panned left and the other right in the stereo mix. Each has its own reverb, (EMT 140 to match that of the studio) applied after EQ and compression. The method works well, as intended.

Best regards

Iain