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It's called ambience!
Haha, thank you! Well, over here you are more likely to hear a cow mooing or sheep bleating in the background, or a neighbor trying out his new garden tool at the most impossible times, which is designed for gardens 20 times the size of his own. The "vintage" treatment also helps with that a bit haha
I don't know why I didn't comment on this when it was posted. It's been in my mind lately due to the threads about IRs. Very cool. How did you use the mic IR?
There are two kinds of "authentic" "vintage" sound, and thus two audience experiances: those who heard the music live and those who heard it via the original 78 recordings. As interesting as it is to try to reproduce the sound of old recordings (as was done by Fapy Lafertin & Le Jazz in the 1990s), that's not what live audiences heard in a small club or dance hall. For that, the approach of Duved Dunayevsky is more like the original-instruments/performance practices movement that transformed baroque recordings a couple generations back. (Though I don't recall those musicians dressing up in 18th century costumes.)
FWIW, back in the '90s I sought out recording projects that went in the other direction: to reproduce the full sound of '20s and '30s jazz bands via modern recording techniques, to hear what live audiences might have heard, say, at the Savoy. In Minnesota, we had the Wolverines Classic Jazz Orchestra--I heard them in a hotel ballroom in St. Paul around 1980, and it was a time-machine experience.
Apples and oranges. I could listen to those Fapy records all day.
Authentic historical live practices are not relevant to the topic. And arguably not always desirable.
Just imagine being seated in the nose bleed section at Shea stadium, listening to the Beatles. Or what it sounded like listening to Elvis at the Louisiana hayride. Tiny 20 watt amp for guitar, mic on the bass, vocals though an announcement PA. Nothing for drums. Outside.
Any bass amplification before the 80s was pretty dreadful. Nevermind acoustic guitar.
I am often in favour of keeping it real. And it can be special and moving. Duved's performance at the academy of music was fantastic. But he has also endured injuries, no doubt in part due to not having any help to project in live settings.
There are countless stories of musicians hating thier live sound. Like Jr Barnyard with Bob Wills. He had to turn up his amp as loud as it went just to be heard. As a result he amp distorted. He didn't like the sound. But it's an iconic tone that people try and copy now.
Furthermore, what is more authentic? Hearing the quintet of the hot club perform in a Parisian concert hall? Around a campfire? In a small club. Or arguable in the actual hot club de France headquarters for members only. I'm sure they sounded different each time.
But again, I'm curious to know about your use of IRs in recording.
I often listen to Le Jazzetal Fapy album. I get what they were doing but I wish they used a second mic. Same with Duved. A well placed pair of mics makes a world of difference for the listener.