Hello Ralf!
I suppose, that tuning hasn't much to do with muddiness at all. I've heard
440Hz - or there abouts - recordings, which sounded like one piece of mud and
Italian or French baroque tuning (392Hz), which sounded crips and clear. I'm
not even sure it has much to do with mixing. Recording would be one thing, so
you don't cancel frequencies by bad mic placements. but most of it is in
clarity of playing and for baroque music especially in size of ensemble. I
found, the small the better. then of course you have the venue, which has an
impact on the clarity of sound. An overlarge reverberation can harm a nice
orchestra, especially if it's big. That's probably, why I'm quite fond of von
Karajan's recording of Beethoven's 9th. The concert hall sounds alright, if a
little odd at times.
but beyond such things, I think one should leave well alone. Mix the mics in
a good way, but don't do much in the way of "producing". I always thought the
working with classical music is the art of touching the recording in
imperceptable ways, that help what's there. So you don't have a real
"production sound". But maybe I'm quite wrong there and the orchestral mixers
and master engineers will now arise to strangle me and stick my body in the
cello case. :-)
(un)Musical regards (may the trumpets bring wonderful sound)
Julien
--------
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