Inside the Session
Perhaps you and I aren’t too dissimilar, I can spend hours debating mics and their placement, obsessing over cable runs, or testing the subtle differences between cables. Mad, I know. So, when Mike and Françoise Valentine from Chasing the Dragon asked me to engineer the Mendelssohn: Octet in E flat major, Op. 20, I knew it would be something different. This wasn’t just about capturing a great performance of Mendelssohn’s piece — it was about designing a session where the listener could directly compare recording methods.
Mike’s idea was as ambitious as it was simple. The goal was to take a single performance of the Octet and, at the same time, record it through a range of different microphone setups. In this way, listeners could directly compare the sonic results without any editing variables. Rather than endlessly discussing the pros and cons of various stereo arrays, or debating the warmth of valve microphones versus the precision of solid-state designs, we decided to let people hear the difference for themselves. This approach turned the recording session into both a musical and an educational experiment—one that could demonstrate, in real time, how microphone choice and placement influence what reaches the listener’s ears.
In the end, we deployed eight microphones across different configurations, with each one carefully selected to showcase a distinct recording philosophy. From closer, detail-focused perspectives to broader, more naturalistic ambient captures, every setup was deliberately designed to illustrate how music translates into sound. By comparing these approaches side by side, listeners could clearly hear how microphone choice, placement, and array geometry shape the final sonic result. And because all of these recordings came from the same performance, in the same acoustic space, with the same musicians, the only variable left was the technique itself.
1. Microphone Layout & Capture Techniques in the Mendelssohn Octet Recording
Mendelssohn Octet Recording: Microphone Layout
It was planned that eight microphones would be employed, in several configurations, so that each variation could serve as a comparative reference. These are the mic techniques used:
- A spaced pair of Flea C12 valve in omnidirectional pattern mounted with a Jecklin disc—this arrangement provided warmth, strong stereo spread, and good imaging of hall ambience.
- A Blumlein figure-8 configuration using the same C12s, mounted one over the other, to capture strong side information and early reflections.
- A spaced pair of DPA 4006A omnidirectional transistor mics (with the Jecklin disc), to contrast valve coloration with a cleaner, smaller diaphragm capture.
- A Neumann KU-100 dummy head positioned just under the main Blumlein pair, creating a binaural path especially useful for headphone monitoring and for assessing spatial realism and balance.
We positioned all microphones (except the binaural head) in the same location relative to the semicircular ensemble, keeping acoustic conditions consistent. This setup ensured that any differences in tone, imaging, or dynamic response came from the microphone configuration itself, rather than from placement or performance variations..
2. Signal Chains, Formats & Recording Workflow
To preserve fidelity and support comparison, the following capture paths were used:
Analogue Tape Path: A Studer A820 ½-inch machine running at 30 ips, using RTM SM900 tape stock for master tapes, with copies made on compatible stock. Tape alignment (bias, azimuth, level) was performed onsite.
PCM Digital: Captured at 24-bit / 192 kHz, using Nagra VI and Tascam DA-3000.
DSD128: Captured via Tascam DA-3000 to provide an alternate digital representation with smoother top-end behaviour.
Vinyl Outputs: LPs were produced in different speeds: some sides were cut at standard 33⅓ rpm; some sides were mastered / cut at half-speed or 45 rpm to test groove velocity and its effect on high-frequency extension and harmonic detail. These were cut at Air Studios afterwards.
Recording was done so that all paths were parallel: the same mic arrays feeding into analogue tape and digital recorders simultaneously. In this way, editing or processing differences could be minimized.
3. Cabling, Power & Signal Integrity
Cabling and Signal Flow in the Mendelssohn Octet Recording
Mains:
• stable mains, grounding discipline, isolation of valve PSU noise were emphasised. Since valve mics and tape recorders are sensitive to mains hum and fluctuations, distributing power feeds and maintaining earth loops was carefully managed, and minimal dielectric loss.
Signal Cabling:
• Cable runs for microphones used Vovox for valve mic to preamps, and Nordost for line-level feeds. These choices reflect low capacitance, good shielding, and minimal dielectric loss.
4. Acoustic Environment & Ensemble Setup
Capturing the Hall’s Character
We selected Henry Wood Hall for its controlled reverberation and favorable early reflections. The space delivers clarity in fast passages while maintaining warmth in slower, lyrical sections.
The ensemble sat in a semicircular layout, allowing all microphone arrays to capture roughly the same acoustic source distribution. Recording all techniques during the same live performance let us compare microphone responses and format differences directly, without altering player positions or how the hall behaved acoustically.
5. Key Challenges We Faced
Key Challenges in the Mendelssohn Octet Recording
Phase coherence: Managing multiple stereo arrays was tricky. Even small shifts in angle or distance caused phase cancellations, especially between the Blumlein and spaced pairs.
Dynamic range: During fortes, signals nearly saturated the tape. Therefore, levels had to be calibrated carefully so gain, headroom, and overload limits were fully controlled.
Balance between mic sensitivity and noise: The DPA transistor mics had lower self-noise, yet they sometimes felt less engaging. In contrast, valve mics sounded richer and more exciting, though they also carried risks of hum or hiss.
Workflow complexity: Tracking parallel paths while labeling and managing digital data added pressure. At the same time, handling analogue tape demanded strict discipline throughout the session.
6. Comparing Analogue vs Digital in the Mendelssohn Octet Recording
Recording the same performance in multiple formats allowed us to draw the following observations:
- Tape (30 ips) presented smoother hall decay, more natural transitions between loud and soft passages; analogue saturation gave character in percussive string attacks.
- PCM 24/192 (NAGRA VI) gave excellent clarity, beautiful dynamics similar to tape, sounded round and warm.
- PCM 24/192 (Tascam DA-3000) great clarity, lower noise floor, particularly audible in quieter passages; transient edges were sharper.
- DSD128 delivered smoother high frequencies and reduced quantization artefacts, while preserving harmonic richness in the upper registers.
- Vinyl LP cuts (especially at half-speed cut/mastering) improved HF extension and provided a pleasing sense of air; however, vinyl playback system variables (tonearm alignment, cartridge, stylus condition) will of course affect the perceived quality.
7. System Specifications & Credits
Team roles, gear lists, recording formats, venue details.
- Ensemble: Locrian Ensemble, Jack Liebeck (1st violin)
- Date: 5th February 2022
- Venue: Henry Wood Hall, London
- Producers: Mike & Françoise Valentine
- Recording Engineer: Matt Sartori
- Assistant Recording Engineer: Adriano Pennetti
- Tape Operator / Engineer: Petronel Butuc
- Mix Engineer: Jake Jackson (AIR Studios)
- Mastering Engineer: John Webber
- Analogue Recorder: Studer A820, ½-inch, 30 ips (SM900/LPR90)
- Digital Recorders: Nagra VI (24-bit/192 kHz), Tascam DA-3000 (24/192 & DSD128)
- Main Mics: Flea C12 omni pair (Jecklin)
- Alternate Mics: DPA 4006A pair (Jecklin), Flea C12 Blumlein pair, Neumann KU-100 binaural
- Preamps: Focusrite Red 1
- Cabling: Vovox, Nordost Odin 2
- Power: Split feeds, heavy-gauge cabling, isolated PSU earth
8. Why We Chose This Approach
Why This Mendelssohn Octet Recording Matters.
The value of the Mendelssohn Octet recording lies in its comparative transparency. Listeners are seldom given a chance to hear multiple engineering decisions made on the same performance. Here, the effects of microphone type, stereo technique, format, and mastering are all laid bare.
Because of that, the recording isn’t only a musical presentation—it is also a practical reference. Engineers, audiophiles, and curious listeners can discern how even small changes in mic placement or format impact perceived space, dynamic contrast, and tonal balance.
9. Conclusion: Format Comparisons & Listener Response
Benefits of parallel analogue/digital recording, sales success, and listener reception.
We structured the session to run analogue tape, digital PCM, and DSD recorders simultaneously, alongside multiple microphone arrays. This configuration allowed direct evaluation of how each recording chain handled dynamics, transients, and harmonic content under identical performance conditions. Analogue tape delivered natural compression, smooth transient roll-off, and a cohesive midrange that emphasised warmth and body. In contrast, PCM provided exceptional phase accuracy, transient precision, and low noise across the spectrum. Meanwhile, DSD offered extended headroom, minimal quantisation artefacts, and a notably smooth high-frequency response that retained the natural harmonic structure of the strings and upper winds.
For engineers, this could be a reference case. For audiophiles and music lovers, it’s a rare chance to choose what sound fits their taste. And the feedback has been strong — both in sales of the analogue formats and in the responses from listeners comparing the difference between tape vs digital, valves vs solid state.
10.Recording Mendelssohn Octet Further Reading
Hi-Fi Reviews and Listening Impressions
For readers who want to know how the project landed outside the control room, several reviewers and hi-fi writers explored the Mendelssohn Octet release from their own listening perspectives. They focused more on the musical experience than on the engineering workflow, yet their insights naturally complement the technical discussion here. When you read their impressions alongside this breakdown, you gain a broader view of how the different recording techniques translate into real-world playback:
- A Musically Satisfying Mendelssohn Octet in E Flat Major Demo Disc From Chasing the Dragon (Tracking Angle)
- Mendelssohn Octet, Op.20 – Chasing the Dragon (HiFi Pig)
- An “Incredible” New Tape With a Difference: Chasing The Dragon Allows Listeners To Compare Recording Techniques Of Mendelssohn’s Octet (Reel-to-Reel Rambler)
Chasing The Dragon has generously provided two 1-minute and 15-second sample extracts from the “Two Guitars” digital recordings, available for download from Neville Roberts website, who wrote one of the above articles:
This WAV file includes two high-quality 16-bit, 44.1 kHz (CD-quality) audio clips of the same performance. The first sample was captured using a pair of AKG/Flea C12 valve microphones arranged as a spaced pair, while the second was recorded with DPA 4006A omnidirectional transistor microphones, also set up as a spaced pair
The tape is available on Chasing the Dragon website: link here