Help please - classical and big band music gurus

[Bill @ Irie Lab]

Great opportunity ? great nervousness.

I will be recording some top-tier student orchestras and big bands in a master class program. The instructors will be world class and will draw everything possible from these talented young musicians. (You may think of the PBS show From the Top; it will be of that quality).

My problem is the room ? A smallish (will forward square footage, if it will assist you in your recommendations), low ceiling (~ 10 feet) multipurpose room.

I will have little input in positioning players or with room configuration in the early sessions (that will change as the program progresses).

To the point: I seek TapeOpper suggestions in microphone selection (SDC Vs. dynamic), mic configuration (X-Y, ORIF, spaced-pair?), and compressor/limiter settings (it will be a 'roll tape' type of session, with little or no level checks).

Are you out there classical and jazz music gods?

Mahalo,

Bill

[acjetnut]

I'm sorry, but what exactly is your question?

[kayagum]

In a small(er) space, I would try a stereo pair with spot mics if you have any featured soloists.

I've had great luck with ORTF, I'm sure Blumlein or MidSide would work great too.

[JGriffin]

Reminds me of my college Stereo Miking class project-- we were told to go record a performance of the jazz band, and it was "set up the two mics where you want 'em and roll tape." But it was also "the auditorium is a union shop, so you can't touch the mics, stands or recorder once you're in the building. You can only point to where you want the stuff set and the union guys will do it." Literally did not know what you had until the performance was over and the union guy handed you your stuff back, so you could go home and listen to it.

[firesine]

I like ORTF with LDCs in the center, maybe a quarter of the rooms length in front of the group. Then wide spaced omnis, maybe farther back in the room, maybe not. I'd error on the close side if you don't have time for sound check.
Compressors? As long as you are doing 24 bit digital, just keep your levels conservative. And as long as they are not clipping, don't touch the faders. The band director will not be happy if the levels change in the middle of a performance on playback.

There, that's better.

[thunderboy]

Sorry, my letter "see" key doesn't work so I will use ( instead.

OT, but you could also just copy a "c" (there's one now!) and paste it where necessary.

jt

[Studiodawg]

c ... it worked!

[@?,*???&?]

My advice to you is to try very hard to get them into a larger space where you won't 'hear' the walls encroaching on what you're attempting to do.

Look into a Decca tree set-up over the orchestra and then 2 to 4 mics out in the seating area if possible.

If you can't get them into a 'theatre', you'll have little luck capturing any useful 'space'.

[@?,*???&?]

In a small(er) space, I would try a stereo pair with spot mics if you have any featured soloists.

I've had great luck with ORTF, I'm sure Blumlein or MidSide would work great too.

Blumlein to capture the ambience or the space, yes. Mid-Side I'd say never- at least not for classical music.

[cgarges]

Mid-Side I'd say never- at least not for classical music.

Really? I've had great luck doing classical stuff in MS. Then again, I don't have a Decca tree bar.

Chris Garges
Charlotte, NC

[Bill @ Irie Lab]

thanks SO much guys. (but keep it coming!)

Exactly the help I was looking for.

For contractual reasons I may not be able to post the results, but I'll ask tell them if I can as it is for educational purposes (that's their soft spot, God bless them!)

In any event I'll run a 'blog' here so you may know how it goes.



Mahalo,

bill

[mixedupsteve]

Most of the people that do this use SDCs in NOS, ORTF with Shoeps, Sennheisers, DPAs etc. Usually a flanking pair also.

[DupleMeter]

If the room is small you are going to want to minimize it's affect on the recording.

That being said: omnis are out of the question. I would also avoid M/S, as the S will likely pick up side wall reflections more so than ambience. Though, to back Chris up - I've heard some gorgeous classical recording in M/S.

Personally, I avoid X/Y because the soundstage is so small and lifeless, so that leaves one of the near-coincident techniques (ORTF, NOS, DIN). I'd keep this a few feet behind the conductor and high enough to balance out the group.

SDCs will render the transients with better detail. LDCs will "smear" the top a bit...but that may not be bad of the room is overly bright or the reflections are on the bright/harsh side.

My $.02

[Bill @ Irie Lab]

Those 2 cents can add up to a lot.

thanks all!

gigs start in April, will let you all how it goes.

Mahalo,

Bill

[agauchede]

I find omnis can be useful in less than desirable rooms, since there is less build-up of off axis coloration. Of course, if the room is too small to get the mics away from the walls or ceiling, you can also have comb-filtering issues. Get there early if possible -- classical musicians frequently rehearse a few hours before a performance.

Chris