Thank you, Monica, what a great site of Chopin first editions... Takes one back to a much simpler time in history seeing all those front covers! However, I couldn't find that particular waltz, but I found other pieces which I've always had questions about concerning certain passages, such as in Waltz No. 7, Ballade No. 1, Prelude No. 20, etc. For some reason, the ISMPL site looked familiar, maybe I followed a link in a PS thread when initially downloading the Waltz No. 16? I can't remember now... Great, you have 2yrs to prepare for that trip to Paris! I am sure that you'll need more than an entire thread to show all your musical discoveries... And yes, my 2wk photographic safari/vacation to the Amalfi Coast in September was amazing! I sailed along the stretch of scraggy coastline from Ravello - Amalfi - Positano - Capri - Sorrento; Went hiking in Capri, and saw the Grottos; drove along the Amalfi Drive - crazy thin, winding street that's as wide as one's "driveway" with breathtaking views of the Mediterranean below AND near deadly site of oncoming traffic ahead in those mountain pass turns; Visited Pompeii, Herculaneum, and Paestum; Saw the Allied landing sites in Salerno. I also treated my parents on the trip - quality time! -- Didier, thanks for the photo - looks like the ideal placement for that mic to balance the treble rise by keeping them away from the treble strings. The TLM50 has a rise of +2dB from 2-10kHz, with smaller peaks @ 3kHz, and 8kHz. Barenboim is a Steinway artist, so the bronze timbre would create a sound too bright if the mics were positioned in the common position near the curve of the piano. Ultimately, the mic selection would depend on the the pianist, instrument voicing, timbre, and tone, and hall. Marketing might have a say as well, since it's a DVD, the selection of mics tend to have a livelier sound for 5.1 or 7.1 Surround Sound appeal. What recording are you referring to, I am curious of the final result?... Yes, the M150 is not common for piano. However, it still has a place in classical music - it shines as an orchestral mic when used in a Decca tree. Mic preference, even in blind test is all subjective and not scientific unless you're measuring it on a FFT scope. Even then it doesn't tell you anything about the sound we perceive. Whether it's a Samson or Schoeps, it's all a matter of personal taste - what's warm to one, sounds dull to another; what's lively to one, sounds harsh to another. However, there are differences in the quality of manufacturing and design. One is made in China and the other in Germany. There are pros and cons to each. The best way to hear each mic is at a recording studio - well worth the $100 to record samples of several mics at once and then make notes on each one. I've never tried a Samson, so for the sake of objectivity and fairness, I just looked up the specs on your Samson CO2. It's a "cardiod" pick up pattern. Your Schoeps MK21 is a "wide cardiod." To some degree, it's comparing apples to oranges. The difference in sound between your clips that I described in an earlier post would be relevant to the respective sonic signatures of your "cardiod" and "wide cardiod" mics. That being said, your mic shoot out is actually unfair to Samson. A shoot out comparing apples to apples might be the Schoeps MK4 "cardiod" vs Samson CO2 "cardiod" mics?... Then it would be more difficult to tell them apart since they would have similar frequency responses. Personally, I think Schoeps are overpriced at $3700/pr - they are far from a bargain, n'est pas? At 1/3 the price of Schoeps, the MBHO (Haun) from Germany is an excellent choice for piano. Have you tried these mics?... These are handmade mics. Leave it to the German Ton Meisters! The chief engineer studied with Dr. Schoeps and draws upon many sonic attributes of the Schoeps mics - a sound that's transparent, fast, neutral in tonality, slight amount of air, and is slightly on the warm side of neutral. For my taste, it's the perfect sonic recipe to capture the sound of piano. Like Schoeps, they have a body + capsule design allowing for changes between omni, cardiod, or wide cardiod capsules. For piano, the mic body with the transformer (MBP 648) allows for a smoother response than their transformerless circuit.* I recommend these mics for someone looking for high end mics with interchangeable patterns on a budget. http://www.mbho.de/index.htm * Generally true for most mics as in the case of old Neumann mics (with transformer) vs new Neumann mics (transformerless). Manufacturers won't admit to it, but this change came about due to rising labor costs as it became costly to match tolerances between high quality mic transformers on a consistent basis. Also vacuum tubes were being replaced by transistors which eliminated the need for transformers. Again manufacturing cost was the issue with tubes, and the issue of component size and reliability were secondary early on. Hence the dawn of modern analog and then modern day digital recordings - that's a discussion all onto itself... Aside from the source, many recording engineers and audiophiles agree, that tubes with transformers color the sound in a way that is favorable, smooth, and musical - consistent with the natural harmonic series where even number harmonics are more emphasized; Transistor based circuitry emphasizes the odd number harmonics which don't sound as favorable or musical to our ears.