1 Enrique Granados: Rondalla aragonesa (4'30) 2 Enrique Granados: Zambra (6'39) - Comments: The microphones were suspended on a long cord vertically one above the other, swinging slowly between left and right in front of the musicians. This knocked the bottom out of the sound, which is particularly noticeable on long drawn-out notes (Doppler effect). 3 Isaac Albéniz: Rumores de la caleta: Malaguena (4'17) - The microphones were placed vertically one above the other. The result is a stereo sound, but the listener cannot place the guitars separately. 4 Enrique Granados: Andaluza (4'35) - Conventional positioning of the two microphones. The accompanying guitar was audibly closer to the microphones than the leading instrument. The sound of the solo melody was able to develop better in its surroundings, and the accompaniment sounds more restless. 5 Isaac Albéniz: Castilla: Seguidillas (3'24) - The microphones were placed very close together and at quite a distance from the musicians. "Acoustic mono" or "tunnel effect". 6 Enrique Granados: Danza triste (4'45) - The impression of closeness was created purely by means of the dull acoustics. The microphones were no closer to the instruments than for the other pieces. 7 Manuel de Falla: Danza del molinero: Farruca (3'01) - The microphones were placed above the instruments, pointing downwards. 8 Enrique Granados: Villanesca (6'05) 9 Manuel de Falla: Danza del corregidor (3'14) - The musicians were seated far apart, the microphones were positioned far apart. Strong stereo effect. 10 Enrique Granados: Minueto (3'14) 11 Isaac Albéniz: Bajo la palmera (5'28) - The microphones were secured to a bar at a fixed distance from each other, suspended from a cord which swung slowly back and forth. Floating sound effect as for track. The instruments can be perceived on the right and left. Total playing time: 47'52 |
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