Subject: Re: Chamber music recording
From: Owen Green (firstname.lastname@example.org)
Date: Thu Nov 10 2005 - 06:54:43 EST
Unfortunately not speaking from a significant amount of experience here,
AFAIK, it is more conventional practice when using spaced-coincident
mixtures in this type of context to have the spaced omnis actually
flanking the stereo pair, as opposed to being set forward; the spaced
pair's contribution can be used in mixdown to control the amount of
ambience. An OTRF setup is often used for the central pair, or more
widely splayed hypercardiods, and perhaps using subcardiods instead of
omnis for the spaced pair.
Blumein can be quite tricky to set up in terms of getting a satisfactory
distance-presence relationship, and one needs to be aware also of what
will be going on behind also, so perhaps if you have no sound check...
If you're considering renting, good results can apparently be had with a
Soundfield set to figure-8 and set some way back, and recording in
b-format (which, IIRC, requires specially doctored leads). If all goes
well, this affords a tremendous amount of flexibility in mixdown.
> With this e-mail I am hoping to generate some advice and feedback concerning
> previous experiences recording live chamber music. This is a quite important
> recording (all first chairs of the MSO) and unfortunately there is no sound
> check. The first half of the program consists of violin sonatas and the second
> half is the Brahms Clarinet Quintet. A couple of options I have considered are
> to use a main stereo pair distanced at about 15" and have a pair of spaced
> omnis directly above the group as spot mics. Another option I have considered
> is using a pair of ribbon mics, throw up a blumlein and leave it at that. Any
> mic suggestions would be appreciated. I currently have at my disposal a pair
> of Neumann 184's and 183's an Avalon 2022 Pre-amp w/ apogee converters. I am
> considering renting either a pair of Royea SF-1 or a pair of B&K 4011's.
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