Massed strings and large choral groups

Frogman, sixty banjos playing together would tax more than my stereo. I can, however, imagine such an event would go over well in Pittsburgh, and probably does in fact occur on a regular basis.

I cannot abide sitting in the balcony dress circle because the blending of which you speak drives me wacky. Admittedly, that takes very little. I much prefer main floor front seating - rows 5-6, just left of center or just right of center. I suspect that seating preference would not be uncommon among audiophile/music lovers. I want to hear the cellos "texture" not just hear their "color."
To me, masses strings in recordings sound much like the seating perspective has been shifted to dress circle. The texture of the individual instruments is lost. Ach, what would Mahler have instructed for recording his symphonies?

He told you right, especially chorus in a large Cathedral setting, treble voices in English ones drive me nuts.Resolution is more a matter of a great amp with OK speakers than vice-versa.

I think, as Frogman has said, massed anything is demanding, both because you need the ability to separate out the parts and follow them, and because there's often a lot of dynamic demands. But, these only cover certain attributes. I find that getting piano right is often tough for many systems to do- there is a certain weight and tone to the lower registers, and there is a lot of harmonic information, particularly in the upper registers, that gets flattened out in recordings. Close miking doesn't really improve things either, and it's not natural sounding. Obviously, a lot has to do with the recording itself. I used to use the Ave Maria from the Mission to hear how well a system did on staging and separation of individual voices.

Brownsfan, interesting that you mention Mahler. Just a few days ago I had the pleasure of taking part in a performance of Mahler's 8th symphony. As you know, it is scored not only for large orchestra, but also for large choral ensemble. The subject of blend (or not) vs clarity of individual line was one that was discussed at length during rehearsal. This article was used as one of the references on the subject. You may find it interesting:

http://books.google.com/books?id=xE9PQzkLOZkC&pg=PA15&lpg=PA15&dq=mahler+and+instrumental+blend&source=bl&ots=ys1IHesuQS&sig=UxYCOhfUuHt2u_neOhzWxrb9IHE&hl=en&sa=X&ei=LrDfUJqUCqq00QGtooHIDA&ved=0CD0Q6AEwBDgU#v=onepage&q=mahler%20and%20instrumental%20blend&f=false

Frogman, thanks much. I will give it a read. I probably like the Mahler 8th the least. I recently pinned it down to the abrupt opening of the massed chorus. It is interesting though, that one of my favorite Bruckner works, the Te Deum, opens in a very similar fashion, but rapidly shifts to the soloist.
Mahler done well live is something special indeed. I made the trip to Cleveland this year for the Mahler 3 opening concert. Oh my! 1.5 hours of pure, uninterrupted bliss. Row E, left of center.