Building a Library - General Discussion

[Leinster Lass]

And we can all wait for the fireworks when AMcG interrupts her to say that Bruckner's a bit repetitive?

... especially if he keeps on saying it! Any news of the proposed recording of the newly discovered '-1'?

[jayne lee wilson]

If they’re stuck they should ring Jayne - which Bruckner Symphony is due for a BAL?

Tom Service having covered No.3 excellently a short time ago, then an extended discussion here (see composers thread) I would go for No.6 (outstanding new recordings recently from Rattle and Dausgaard) or No.2, where you can really get your teeth into the editions..... you'd need at least two recommendations for original or revised, three if you wish to cover everything, even the slightly less valid....

No.1 could work well, some editional questions there too, so long as you include the two game-changing recordings on instruments d'époque.....

[Eine Alpensinfonie]

There’s really no excuse with BaL. It could simply revert to a one-person production, pre-recorded.
But I suspect the BBC is too proud to do such a thing.

[DracoM]

Or too much in the hands of AMcGod.

[underthecountertenor]

There’s really no excuse with BaL. It could simply revert to a one-person production, pre-recorded.
But I suspect the BBC is too proud to do such a thing.

Oddly enough, it seemed pretty clear that this morning’s chat with ‘Norris’ WAS pre-recorded, for whatever reason (risk of overrun if Norris went live??)

[Cockney Sparrow]

The sound quality of D Owen Norris and Jeremy Summerley were acceptable for difficult times - no contributions on mobile phone from Berlin this week.

Let's hope they aim for and achieve similar standards in coming weeks.

[makropulos]

They are usually recorded using an internet connection from contributors' homes, a few days before broadcast. Sound files have to be sent to the producer several weeks before then so that they can be fixed up and woven into the discussion (there is little or no access to the BBC CD library at the moment). When I did Vixen a couple of months ago, we recorded it 'as live' apart from one tiny edit, and I suspect most of them are like that. I'm recording another one next week for broadcast on 30 Jan (the BAL website will say what it is before then, but since it doesn't yet I'll keep mum). The point about doing it actually live would make more sense if internet connections were completely reliable –but the risk of them dropping at inopportune moments is fairly high, so I, for one, am glad that they are done as-if-live, but ahead of time just in case the line drops. It's a palaver, of course, and I know everybody is eager to get back into the studio and do the thing normally, but that's absolutely not possible at the moment, for obvious reasons.

[Pulcinella]

They are usually recorded using an internet connection from contributors' homes, a few days before broadcast. Sound files have to be sent to the producer several weeks before then so that they can be fixed up and woven into the discussion (there is little or no access to the BBC CD library at the moment). When I did Vixen a couple of months ago, we recorded it 'as live' apart from one tiny edit, and I suspect most of them are like that. I'm recording another one next week for broadcast on 30 Jan (the BAL website will say what it is before then, but since it doesn't yet I'll keep mum). The point about doing it actually live would make more sense if internet connections were completely reliable –but the risk of them dropping at inopportune moments is fairly high, so I, for one, am glad that they are done as-if-live, but ahead of time just in case the line drops. It's a palaver, of course, and I know everybody is eager to get back into the studio and do the thing normally, but that's absolutely not possible at the moment, for obvious reasons.

Good to know that this is going ahead.
I'm sure that our collective breath is bated.
Come on, Alpie: you obviously get advanced knowledge, as recent postings have surely been before the daily schedule has been announced, and BBC MM, a previous source, is currently not revealing any details!

[Ein Heldenleben]

They are usually recorded using an internet connection from contributors' homes, a few days before broadcast. Sound files have to be sent to the producer several weeks before then so that they can be fixed up and woven into the discussion (there is little or no access to the BBC CD library at the moment). When I did Vixen a couple of months ago, we recorded it 'as live' apart from one tiny edit, and I suspect most of them are like that. I'm recording another one next week for broadcast on 30 Jan (the BAL website will say what it is before then, but since it doesn't yet I'll keep mum). The point about doing it actually live would make more sense if internet connections were completely reliable –but the risk of them dropping at inopportune moments is fairly high, so I, for one, am glad that they are done as-if-live, but ahead of time just in case the line drops. It's a palaver, of course, and I know everybody is eager to get back into the studio and do the thing normally, but that's absolutely not possible at the moment, for obvious reasons.

I think everyone involved including the contributors of course is doing an excellent job in somewhat trying circumstances and should be thanked for all their hard work. Having had friends in news who’ve used Lucie Live - the main app for live inserts- you are right to say it should only really be used live when you have to be live.

[Eine Alpensinfonie]

Come on, Alpie: you obviously get advanced knowledge, as recent postings have surely been before the daily schedule has been announced, and BBC MM, a previous source, is currently not revealing any details!

No - I always have to wait for the Radio 3 web page. Over the Christmas period, the listings were published weeks in advance, but now it's back to normal, so I know no more than anyone else (apart from makropulos ).

[Pulcinella]

No - I always have to wait for the Radio 3 web page. Over the Christmas period, the listings were published weeks in advance, but now it's back to normal, so I know no more than anyone else (apart from makropulos ).

Ah, that explains it. In that case, even more plaudits are due to you for the speed with which you usually produce the lists for us.
I thought that you might have a mole inside Broadcasting House.

[Lordgeous]

Tom Service having covered No.3 excellently a short time ago, then an extended discussion here (see composers thread) I would go for No.6 (outstanding new recordings recently from Rattle and Dausgaard) or No.2, where you can really get your teeth into the editions..... you'd need at least two recommendations for original or revised, three if you wish to cover everything, even the slightly less valid....

No.1 could work well, some editional questions there too, so long as you include the two game-changing recordings on instruments d'époque.....

How do you tell them apart?!!!

[Bryn]

How do you tell them apart?!!!

Simply by using her ears and brain, like the rest of us, I would think. There again, Boulez professed not to know the 8th from the 5th.

[Lordgeous]

Simply by using her ears and brain, like the rest of us, I would think. There again, Boulez professed not to know the 8th from the 5th.

Haha. I was merely being flippant!

[Bryn]

Haha. I was merely being flippant!

The comment on Boulez should give a clue to my own stance.