When will there be decent classical music recordings?

With "pop" music the recordings are such that you can hear the rasp of the guitar string, the echo of the piano, the tingle of the percussion ... and so on .... and in surround sound.
Surround sound is brilliant in picking out different instruments that would otherwise have been "lost" or merged with the other sounds.
Someone will say well that is not how you listen at a concert, but that is just archaic. As a friend said many years ago to me ... whats wrong with mono?!
I am sure Beethoven or whomever would have been excited if they could have presented their music in effectively another dimension.
I have yet to come across any classical recording that grabs me in the way it should, or could. Do they operate in a parallel universe musicwise?
I used to play in an orchestra so I am always looking out for the "extra"  presence in music ... in amongst it, not just watching and listening from a distance

I have several uniquely recorded albums (LP's) on the "Repeat" label. They were recorded without using microphones in producing the master tapes.

According to the liner notes, "all musical instruments employed being equipped with specially-designed transducing systems which convert the energy of the original sound source into a corresponding electrical signal. This output is then fed directly through the recording mixer and onto tape."

These recordings have the most "presence"  of individual instruments in my entire collection, including any of the so-called audiophile recordings I own. Do they sound "better?"  Well, yes, from a "presence" standpoint ... but there is something that is just not right. Oh yes, they have the "wow" factor, but as a steady diet? No way. Totally interesting though. 

Here's the titles if your intersted in tracking them down:

1. Western Swing - Noel Boggs on steel guitar along with fiddles, guitar, drums and bass. 

2.   Rural Rythm - Fiddle, fife guitar and bass. 

3.  Borodin string quartet #2  in D Major. The Da Sallo String Quartet. 

4.  Dvorak Quintet in G, Opus 77. Two violins, Viola, Cello and bass.

Anyone of these LP's will satisfy the most detail and presence audiophile freak on the planet. Really fun to listen to ... for the first few times. Great for demonstrating your stereo to friends. Lot's of "wow" factor. 

So, all of that "extra presence" the OP is seeking is/was available, but a steady diet of it? I don't think so. 

Jump on this one, guys: 



One little-mentioned label that offered Classical music with a very "immediate" sound that included low-level instrument sounds was Ark Records (LP only), Robert Fulton's (70's speaker designer) label. REALLY good sounding recordings, like direct-to-disc.
I think Tatyana69 is focusing on listening to the sound, texture, and detail of each instrument.  If taken to an extreme, most music lovers would consider this secondary enhancement or detraction from a musical experience. To me this emphasis is the tail wagging the dog. The power of a string quartet is not hearing the body cavity resonances of each instrument (though if captured realisticly it could be an enhancement), but the music itself.
"The power of a string quartet is not hearing the body cavity resonances of each instrument (though if captured realistically it could be an enhancement), but the music itself.""

If you played in a string quartet or concert (playing is surely one of the best listening options too) your sound image is quite different to listening and you get the sound texture - which is my desire. Where do they stick the microphones on normal recordings? At the front?
Surely a few bang in the middle gives half a chance of presenting the music. And there are so so many dull recordings out there. The majority it seems. When I was younger (in olden times) I had to go from shop to shop to find different and half decent versions of my favourite pieces. Now that is not possible so it is very hit and miss about coming across something worthwhile.
And why was Von Karajan so popular? Always had the most dull as dishwater interpretations ever possible! Killed the music!

As I mentioned, if you want recordings with mikes throughout the orchestra, check out the Deutsche Gramophone catalog.  They place mikes throughout the orchestra (almost in the laps of the musicians, in the early years), run everything through a mixer, and let their tonmeister, together with the artist, decide on the final balances.  Ironic that you call out a DG artist (HVK) who used the very technique you're calling for.  There are also plenty of mikes throughout the orchestra used by most recording engineers--Decca, EMI, Reference Recordings and most labels, in addition to their arrays in front of the orchestra, liberally use spot mikes in various sections, especially over the woodwinds or a soloist, to add presence to those instruments, depending on the particular piece being recorded. 

I found it illuminating when I listened to master recording files of the NJ Symphony Orchestra and other artists (such as the Kissin recital at Carnegie Hall) with Tim Martyn, their recording engineer, on my system running through his mixing console.  We were able to play with the levels of all of the many spot mikes throughout the orchestra, as well as the Decca tree with outriggers in front of the orchestra and the spaced omnis out in the hall used for picking up the hall ambience. I found that I'm not a purist by any means--if I were, I'd prefer just the omnis for the sound I heard in the hall, but that sounded way too vague and distant, and not at all what I'd heard in the hall.  This was especially true with the Kissin concert, where adding the mikes placed over the piano to the omnis out in the hall gave the performance life and presence that the omnis by themselves lacked.  Tim, as do many of today's classical recording engineers in conjunction with the artists, will use the spot mikes judiciously to add that presence and life to the music.  You would call for more of that, I guess, but as an amateur performer (singer in a number of choruses and vocal ensembles) and member of the audience I far prefer a slightly more distant perspective so I can hear the blend of voices and instruments called for by the composer.  To each his own.