This quite spectacular recording for Pan Classics of the legendary Vienna Sextet was made in a small church in Blumenstein, Switzerland, using a single pair of Neumann M149s.

The original dry recording ... and from the final CD, brought to life again by the Pure Space reverb impulses, this time from the ‘film’ set: IR2290, which has an extremely resonant top end whilst remaining balanced in the mid-range, the final mix.

The copyright in these tracks is owned by Pan Classics.

Acoustic of the recording enhanced significantly using IR 1748.

Simon Fox-Gál grew up in musical surroundings (his grandfather was the composer Hans Gál) and started the cello at the age of five, and the piano at the age of eight. After a six-year training as record producer (Tonmeister) at the Hochschule für Musik in Detmold, Germany, he set up base in London, working initially for Swiss record label Pan Classics and ex-Decca recording outfit Classic Sound.

His work is now for the well-established continental recording company Musica Numeris, and as freelance record producer and editor for a number of labels in the UK and abroad.

Simon has made recordings for the labels EMI/Virgin Classics, Erato, Warner, NMC, Sony Music, Pan Classics, Campanella Musica, Mirare, Hungaroton, Ambroisie, Avie, Cypres, Naxos, Alba, and BMG/RCA. Editing work has included a substantial number of Decca/Universal releases.

To contact Simon Fox, email him at simon.fox@dsl.pipex.com.

Recorded in August 2004 at St Mary's Church, South Creake, Norfolk, UK
Producer: Jonathan Freeman-Attwood; Balance engineer & editor: Simon Fox-Gál
AVIE records, 2005: AV2054

Gramophone magazine - Editor’s Choice, June 2005 
MusicWeb Record of the Month, April 2005

This recording was made in the large Snellman hall in Kokkola, Finland. However, the liveliness of the venue was still able to be enhanced using the Pure Space reverb impulses.

Here’s the original recording, with no reverb added. And here’s the same excerpt, including IR 1648:

The material for this CD was recorded at live performances at Bozar, Brussels, Belgium. With an orchestra of this size and full house, the acoustic was effectively completely dry on the recording. The ambience on the final master was created entirely using Classical IR 1543.

This recording was made using Earthworks QTC1’s as the main pair. The live acoustic of the hall is present, but not enough to allow the music to breath; a bigger, more expansive space is needed. This is supplied by Classical imulse IR 1543, one of my favourites: light in the bass, lively in the treble, and has a pronounced ‘rebound’ in the tail.

Here is the ‘dry’ original.
And here is the mix incorporating IR 1543:

The copyright in these tracks is owned by Eva Fox-Gál.

Ambience of this recording consists largely of reverb generated by Pure Space classical IR1425.