As this Samplitude image shows, there can be a lot of editing and other adjustments applied to music recordings. My approach for classical recordings is to start with no intervention, capture the music just as it is, and later only do what’s necessary to make an authentic reflection of the performance. Quite often, no EQ is needed and I’ll only add compression or reverb when the acoustics or final medium requires it.
Venues very often have noises, such as HVAC rumble or electrical hums and buzzes, that become tiresome to hear and can obscure musical subtleties. Advanced software allows me to remove quite a lot of those disturbances, and some pretty messed up things can come out almost studio-clean. But, care is necessary to not remove any harmonics or the feeling of place and space that the music inhabits. I don’t want my recordings to sound as anonymous and artificial as many productions do. I prefer to take listeners to a real place, not some unnatural void.
One example of an atmospheric setting is this concert by singers Cindy Miller and Alan Jones, recorded at Asbury First UMC, January 2016. Recorded for WXXI-FM and Michael Lasser’s Fascinatin’ Rhythm.
My recordings are often used as soundtracks for the work of videographers. Here are a few examples.
David Chin conducts J.S. Bach: Es ist dir gesagt, Mensch, was gut ist BWV 45
Here is Pegasus Early Music and the marvelous soprano Laura Heimes in a recent concert.
Also from a recent Pegasus concert is counter-tenor Jose Lemos, recorded at the Lyric Theatre in Rochester.
This excerpt from Monteverdi’s Vespers features an echo from off stage. This performance, directed by Paul O’Dette, was recorded at the Performance Hall of the Hochstein School of Music and Dance.
Here is a tune by Cary Ratcliff from Madrigalia’s 2014 CD On This Day, Earth Shall Ring