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Your 5,789th post saying the same thing.

Yeah, let's all get rid of horrendous recordings like:

A Love Supreme (and likely) every other Coltrane recording
every Beatles recording
every James Brown recording
damn near all (if not literally all) Miles recordings
all Doobie Bros. recordings
all Steely Dan recordings
Most (if not all) Ray Charles recordings
(probably) every Sinatra recording
every Columbia classical recording (including all of the label's Stern, Oistrakh, Bernstein, Ormandy, Copland, Stravinsky, Boulez) as well as the entire DG catalogue, lots of Philips recordings)
Likely every single Aretha recording
all Pink Floyd recordings
virtually the entire Bluenote catelogue (maybe not just "virtually")

I could go on and on.

PAR's post is right on. You are constitutionally unable to recognize that the overwhelming majority of recordings were never intended to be perfect replicas of live performances. Who the hell listens to Freddie Hubbard's Hub Tones and thinks to themself "Damn, this sucks. Too many mics."? Who listens to Steely Dan and hates the recordings due to having the drummer in a booth? Who listens to Aretha's Respect and hates it due to the use of multi-miking?

While I'm a fan of minimalist recordings of some music/groups, countless recordings would never have existed without multi-miking/mixing and other studio effects including seminal recordings like Sgt. Pepper. Recordings are recordings. Mics are not ears. Live is live, and every live venue is different. Some multi-mic recordings suck, some have excellent sound. Some engineers are superb, some are hacks. Some concert venues allow excellent sound, some suck. Sit in row D at a symphonic concert and what you'll hear live is very different than what you'd hear in row S. Who sits where they place minimalist mics setups at symphonic recordings? Is high fidelity the "absolute sound" or fidelity to mic feeds?

Vive la difference!



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