{"id":1746,"date":"2009-06-25T12:36:09","date_gmt":"2009-06-25T19:36:09","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=1746"},"modified":"2009-06-25T12:36:09","modified_gmt":"2009-06-25T19:36:09","slug":"correspondence_sound_judgment","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2009\/06\/correspondence_sound_judgment\/","title":{"rendered":"Correspondence: Sound Judgment"},"content":{"rendered":"<p>Ted O&#8217;Reilly writes from Toronto about the item in the following exhibit:<\/p>\n<blockquote><p>Nice stuff with the DBQ.  I agree with your comments about the sound quality especially.  It was in the days of Professionals when that was recorded:  both musicians (who knew how to play together) and technicians.  &#8220;Balance Engineers&#8221; who could listen to a group play, then simply(!) put THAT sound on the air, or disc usually capturing it with three or four well-placed microphones.<br \/>\nI am still in awe of the hundreds of performance airchecks I have by Ellington\/Basie\/Herman et al. which stand up so beautifully over decades.  It sure is a differently-made beast that is presented to our ears these days&#8230;<\/p><\/blockquote>\n<p>Ted&#8217;s communiqu\u00c3\u00a9 put the <em>Rifftides<\/em> staff in mind of Roy DuNann&#8217;s imperishable engineering for Contemporary Records. To read about him, see <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2008\/01\/roy_dunann_update.html\"target=\"_blank\">this archives piece<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ted O&#8217;Reilly writes from Toronto about the item in the following exhibit: Nice stuff with the DBQ. I agree with your comments about the sound quality especially. It was in the days of Professionals when that was recorded: both musicians (who knew how to play together) and technicians. &#8220;Balance Engineers&#8221; who could listen to a [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-1746","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1746","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=1746"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/1746\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=1746"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=1746"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=1746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}