Subject: Re: Chamber music recording
From: Steven Rice (firstname.lastname@example.org)
Date: Thu Nov 10 2005 - 11:51:06 EST
I think that your original idea is good. Blumlein is quick and dirty,
and even if you screw it up a little, it sounds good (good stereo
image, etc). ORTF, in my experience, is very finnicky and if you mess
it up a little, the stereo image is totally wacked out. Especially
with those neumanns, go with the Blumlein at 15". They aren't
bidirectional, but at 15" you're getting a little bit of a dry sound,
anyway. I've experiemented with a lot of patterns on the fly and
screwed up a lot. Blumlein is a forgiving warhorse.
With the pairs that are closer, I feel that you have more flexibility.
I'd be tempted to think about setting up additional closer stereo
pairs, just to see what I got from them. If you have a really good
sounding ribbon mic, then use those as the close mics. The mono is
kind of troublesome sometimes, but if you mix it mostly to one side or
the other, it can mix out pretty easy. When I've set mics further back
for more room sound, I often have ended up not using it very much in
the mix. Closer mics totally change your perspective, though.
That's my opinion.
-- Steven Rice, M.M. Composer Baltimore, MD
On 11/10/05, Owen Green <email@example.com> wrote: > Unfortunately not speaking from a significant amount of experience here, > but... > > 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. > > hth, > Owen > > > firstname.lastname@example.org wrote: > > Howdy, > > > > 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. > > > > Regards, > > > > John > > > >
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