On a fundamental level, we ask what differentiated a “French” from a “Viennese” sound; but taking into account the skills of both builder and player, along with the complex affordances of a particular type of instrument, we also ask what made Beethoven a “fast learner” on a new instrument and his Paris-based rival Steibelt an “expert” of a familiar one—one that lent itself well to what in France was known as son continu, or the skill of sustaining or “spinning” sound.

The historical Chapelle du Grand Séminaire de Montréal presents the acoustical canvas for a choral recording. 32 microphones will be placed strategically, 18 spot microphones, one for each singer, 8 highly positioned ambient microphones in varying distances, and 6 height microphones will capture the immersive sound above the choir.

An interdisciplinary symphonic recording for the study of orchestral sound. With the aim to study orchestral blending effects, a joint music production and evaluation of an orchestral recording was realized. Excerpts of the work were recorded in the full orchestral setting or in variable combinations of single instruments, partial or complete orchestral sections performing together, which illustrated timbre blending between the groups.