The orchestra quickly gained a reputation for the exuberance and all-Italian brio of its performances. The recordings featured the internationally famous Interpreti Veneziani, which debuted on the Italian and international concert stage in 1987. To top it all, the concerts were to be held in the world renowned and beautiful San Vidal Church in Venice, and all I had to do was to get myself there in mid-April 2018 to witness the recording sessions first-hand. Then, when I found out that out that the event would involve recording a series of live concerts showcasing one of my favourite genres of music, Italian baroque, my excitement increased. So, when I was offered the opportunity to attend such a live recording event, arranged by the audiophile record label Chasing The Dragon, I was very keen to take up the offer. Making a recording at a live venue with a live audience is a completely different process. Of course, direct to disk recordings can only be undertaken at a studio that has the lathe and the supporting equipment required to cut the master lacquers. Most of these recording sessions have been held at recording studios, where everything to do with the recording, from the acoustic environment through to the recording systems and microphones mixing, can be controlled to produce the final stereo mix. The aim at each session has, of course, been to produce audiophile-quality recordings in the best that analogue has to offer in terms of professional master tapes on quarter inch, half-track, 15ips tapes and direct to disk LPs. I’ve been fortunate to be able to attend a number of recording sessions in recent years. Neville Roberts flies out to Venice to investigate. Making a high-quality audio recording in a recording studio is one thing, but making a similar recording at a live concert has its own particular challenges.
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