Getting set to do a live recording of a largish Baroque ensemble. Nice performance space, archival capture. No big deal. The leader of the ensemble and the client is the harpsichordist. In addition to the main array overhead, I plan on spot mic'ing the harpsichord with a pair of close(er) mics, tight omnis or wide cards.

And thoughts on technique for this spot capture. I know that harpsichords record differently than pianos but my experience with this instrument is pretty limited.

Thoughts?

D.

in the case of a harpsichord, the search for a balance between tone and articulation often results in a lower microphone position than with a grand piano; i'd probably also use a (slightly) narrower spacing and definitely no mics with a noticeable hf bump...

Anyone tried Decca tail on a harpsichord?

D.

See Decca book pg. 121 for tail example. Starting points (for solo harpsi) start pg.63.

In any chamber group with harpsi, I've never needed a spot for it; though not a loud instrument, it's often quite piercing.

If part of a full orchestra, will almost always need spots. Start with narrow AB at 90 degrees to side, and adjust horizontal position to get brighter or softer result.

The trick of spotting a good harpsichord in the context of a larger ensemble is to accentuate the "cloud of sound" that seems to hang above the instrument. It's all about the soft and complex harmonics that give a quality to the sound. I usually put a pair of omnis (preferably Sonodore RCM-402) in small AB around the height of the edge of the lid, aimed at the lid instead of the strings. When aimed at the strings the piercing qualities will be accentuated, which is not what you want. There's a picture of my typical harpsichord spotting in this post: Flexible yet sturdy microphone stand ? I can only use this method with the omnis when the harpsichord is centered in the group and the spots can be in the same line of sight as the main pair; that way the spill of the pickup will not destroy the stereo balance.

Check the audio samples in Joel's opening post to his recent thread: Somebody once said "Record everything in stereo..." ...but bear in mind this was a solo instrument, and had nothing to compete with...

Until you have the band in place and playing, it's impossible to predict whether a harpsichord spot will be required or not, since the orientation of the instrument on stage, and its distance from the main pair, will be major determinants...and even then, the presence of the instrument will likely vary between the items in the program. Better to have a spot in place in case...

I've recorded harpsichord where the 'pointy end' is facing out towards the audience....and 180 degrees around from this...and with lid off entirely...as well as the traditional 'parallel with stage-front'...and all of these orientations have a major determinant on how the sound projects.

Because your spot will necessarily pick up a lot of detail (some of it unnecessary or unwanted) a 'dull' condensor is not a bad choice, if you have it...or you can simply eq-down a regular one ?

Be sure to let the conductor/harpsichord player have a listen if you get a break in rehearsal...but remember it's better to record a spot and not use it later, rather than omit the spot... and then find it's required in the final mix after all (listening on location vs at home on familiar playback gear can be quite different experiences !)

Not had much luck with Tail on Harpsi, great on Piano.

For me stand next to well and look down into it. Enough distance to unify the sound and allow a little Low High difference.

They need to "breathe" a bit, don't get too close. Obviously if its ensemble its a juggle, but further away is better.

Also allow several hours for getting the damn thing in tune!

Good luck!

Check out this recent Decca recording.
Marcello: Oboe Concerto in D Minor, S. Z799: II. Adagio (performed on recorder)

https://www.deccaclassics.com/en/art...-adagio-600851

I can not make out the model of mic they are using, but the positioning is clear.

I'm surprised the musicians were OK sitting that far away from each other.

Yes...and to still be able to hear one another, and retain a sense of ensemble playing also ? Recording-wise it's beneficial, as each instrument can occupy sufficient space, without adjacent-instrument spill clouding the picture and giving a too-dense, congested sound. I agree though...they're definitely pushing the 'distance factor' !

They probably also wanted to avoid being underneath the balconies on either side, to prevent 'small room reflections' colouring the sound ?

The section and spot mics seem to be all present and correct....but more alarming is the apparent absence of a unifying main pair ? There is a central mic, perhaps it's a midside ?

The harpsichord's small AB spot pair seem quite low...until you realize that the instrument is lid-less !

That makes a BIG difference to how it propagates in the room, its overall volume is thus diminished...and with that condition in mind the lower, more central placement of the mic pair over the instrument is quite appropriate...they are likely cardioids

So this whole concert will be ensemble with continuo so bleed might be a problem. I am leaning toward Mk21s lowish and pointing toward the lid.

As is usual in most of my work, I will not get a rehearsal or sound check. I might get to listen to harpsichord's tone while the tuner is at work.

The harpsichordist is the client or I would probably just use a main pair for the whole job. But if it turns out we need more voice on the harpi, we'll need room to "turn it up".

Thanks all for the suggestions.

D.

Just be aware that assuming this bears any meaningful relationship to how it will sound in context with the other instruments is like relying on soloing channels compulsively and then trying to build a mix on this basis alone. The road to certain disappointment !
Your plan to selectively capture more harpsichord material (for safety) than you might otherwise do is a wise approach indeed !!

I am thinking the two tall stands (round basses) seen in the lower center-left of the picture you posted were the main pair.

Ask the harpsichord player about the exact seating (let her draw a map), so you can plot out your plan. I often do that and 99% of the time it works out beneficially. After that, the tuning of the harpsichord will at least take half an hour, so you will have plenty of time to accustom yourself with the instrument's sonics and fine tune your spots.

Late to the party (as usual). Have you heard the recordings of the ensemble, Voices of Music? The sound is excellent, particularly on their Baroque music recordings. (I am somewhat less impressed with their recent Mozart offerings). Continuo consists of harpsichord, theorbo, and a small positiv organ. The balance is great. I've attached 2 screen captures from 2 different performances: a Bach violin concerto and the Vivaldi "Fall" from the 4 Seasons. Both show a single microphone angled toward the center of the harpsichord, and maybe just a foot or so above the rim. David Tayler, the theorbo player, also does the recording. I reached out to him over the summer to confirm his use of Beyerdynamic M130s as solo spots for some of the violin concertos. He was most generous with his time in answering my questions. Hope this helps.

Regards,

Lloyd

I know people will think this is crazy, but if the harpsichord is open, my pick is often an RCA BK-5. Not much leakage from the rest of the band, and it eliminates much of the sharpness and clanginess that you hear from the instrument up close. Would consider another narrow cardioid ribbon.

Mind you, I use very little spot mike in the mixes usually... might not use any at all.
--scott

Interested to hear about the Beyer M130s, they are on my radar.

Instinctively I though they might be nice on early stringed stuff.

Thanks!

Nice nulls but why the M130 over the M160? I'd think the big rear lobe would be an annoyance.
--scott

Even as a low level spot, I would never mic a harpsichord in mono.

Zero advantage to it, and just makes it harder to gel in the mix (even if you can stomach the pinched sound).

I won't argue if that is your experience. All I'll say is have a listen to the videos from which I took the screen shots. The continuo sounds great.

Of there is always the likelihood that the harpsichord mic wasn't used in the final mix; happens a lot.

The harpsi I recorded was in the rear of the ensemble, parallel to the front of the stage. Had the lid on and open.

The ensemble was, at it's largest, six players including flute, bassoon, violin, cello, guitar/theorbo, semi-circle with the harpsi in the middle. The harpsi continuo was overwhelmed sometimes listening only to the main pair.

Spots were in order but the ensemble was packed very tightly, the flute and bassoon players' chair almost touching the harpsi.

I ended up using two Neumann KM140s on a short bar squeezed into a tiny space between chairs, pointing at the lid. I worked a bit so the harpsichordist could see those players around the mics, and the result was okay. Nice sound, bleed mostly controlled, the flute being the biggest problem. L/R stereo, mains and spots was solid.

If I had wishes, it would have been for a bit more room for the harpsi spots so I could have had a bit more choice in position, but all in all. . . .

D.