Ron Streicher, audio production manager of the Aspen Music Festival and School's Edgar Stanton Audio Recording Institute since 1996, will once again be supervising the recordings of the Festival's concert season.
This year, Streicher
is adding a TRUE Precision P2 Analog two-channel microphone preamplifier to the two TRUE Precision 8 eight-channel units in his
"I am very pleased with the quality of the TRUE Precision," comments Streicher
"It's the pre that I use whenever I pull out my ribbon mics.
It's got lots of gain and it's clean and quiet.
I can also turn off the phantom power.
The TRUE Systems Precision 8 features eight channels of transformerless analog microphone preamplification and offers an astonishing frequency response of 1Hz to 500kHz.
Modeled on the Precision 8, the P2 Analog offers two channels of mic pre, with an M-S decoder and Stereo Phase Correlation display.
Pacific Audio-Visual Enterprises professional audio service in 1972, and is the co-author of "The New Stereo Soundbook.
has been a faculty member at Aspen since 1988, working with Juergen Wahl
and John Eargle, under director Thomas Haines, to prepare students for a career in classical music recording through an intensive four-week course.
The TRUE Precision system travels with him for all of his
critical recording needs, he
"I'm using it for recordings both here at the Aspen Festival
and my own work.
Almost everything we do here at the music festival, and most of what I do on my own, is live stereo mixing," explains Streicher
, a foremost authority and much published author on the subject of stereo recording practices and techniques.
"Our media and mastering product is Digidesign Pro Tools," he
"We're just going in 44.1kHz/16-bit.
The reason for the choice of sample frequency and bit rate is simple," he
"Here at the music festival we are selling CDs the day after the concert.
We record a concert, edit it that night, the next day it's mastered, and they're on sale that afternoon.
The concerts are also frequently captured for broadcast on National Public Radio and WFMT, Chicago's Fine Arts Network.
fields an impressive collection of more than 150 microphones, of all types and manufacturers.
"Because of the need to keep sight lines clear for the staging and projection of the super titles for "Tosca"," noted Streicher
, all microphones had to be kept either very low or very high.