(Major digression here but....)
Here's a still from Fremer's video showing the 'Decca Tree' array of 3 mics above the orchestra, in a cruciform config:



Created by Decca in the 50s & used by the legendary Decca engineer Kenneth Wilkinson through to the late 70s:

en.wikipedia.org/wiki/Decca_tree

Neumann mics of course, omnidirectionals - maybe the secret to nicely balanced orchestral sound? The 'Decca sound'.
Later, Decca recordings were criticised for increased use of spot-miking & 'gain-riding', etc.

DarkLantern blog - darklanternforowen.wordpress.com

fanboys will love it but that video showed an awful lot of mics.

it didn't sound like a great carmen either.

at least it wasn't half-speed

More train-spotting:
The Neumann lathe has what looks like a SME 309 arm, with Shure M97 ("a $60 cartridge!") for playback.

Fremer was critical of the Technics SL1210 (Mk5G?) for playback & especially the Ortofon Concorde "DJ cartridge" - "lower...than domestic" grade cartridge, he castigates them

I was interested in seeing how the precious lacquer master is robust enough for pickup cartridge playback - later of course, this master is used to create 'negatives' & metal 'mother' discs. My understanding is that the lacquer coating is soft, softer than a vinyl record & can only be played back a few times.

Interesting too, the talk about track pitch on the cutting lathe control panel. No mention of the cutting amplifiers, Neumann possibly (no Tim de Paravicini here )

Monitor speakers - "DynAudio...with TAD drivers"(!?), wee Proacs on the desk & big TAD full range stereo spkrs in the end mastering alcove.

And the big Studer tape machine.

DarkLantern blog - darklanternforowen.wordpress.com

yes, this modern d2d is very different to the old sheffield method where doug sax et al used a more hands on approach, manually spacing grooves etc on the fly.