As there are no mention of microphones in the equipment list, I think we can conclude that where the live performers were introduced, the recorded music would cease, except in the recorded + live organ piece. I guess that there was a system of cue lights. I'm not clear about whether there was an attempt to (virtually) seamlessly stop the replay over the speakers on a particular bar and allow the live performers to start or whether whole pieces were played through, then switched to live.
Did you notice the comment about how the pre-recordings were optimised to the hall and how those same recordings may or may not be suitable for getting the best out of the domestic hifi setup? Back to the thread on damping the listening room for consideration of that.
Ok, so what's next. Well I think we need to at least note that there is a fundamental difference between the loudspeaker on-stage in the hall and in the listening room. What's missing in the hall is the close proximity and sonic contribution of the side walls and the ceiling - the floor is the same in both although if you are seated near the stage, the floor bounce may well be above your head and not audible. But at home, there is no escaping the floor bounce unless, as I showed in the TechTalk, the listener is actually lying on the floor.
We know from the audio examples in the non-DSP room damping thread that early reflections (sidewall, floor, ceiling) have a critical influence on the perceived sound at the sweet spot. On stage, the side walls are far from the speakers and reflections off them whilst measurable may well present a completely different impression to the listener in the hall, if any at all. Certainly, the combination of very large drive units with directional high frequencies will spray far less HF laterally and that combination of narrow HF beaming plus side walls far from the speakers is a completely different situation to the real world domestic listening set-up.
Alan / Tokyo: Stereo Sound Award 2010 ceremony day
Alan A. Shaw
Harbeth Audio UK