Classical Recording - how high to place main mics?
Question for the classical people - When placing your main stereo mics do you have a preferred height where you start? Any "rules of thumb"? What sorts of things are you listening for to make refinements?
My stands will reach 13 feet but I never seem to get much above 9-10 feet. Just wondered what you're listening for? I don't know if this is a silly question or not but realized I hadn't spent much time experimenting with the height of the main mics.
(Much of my classical recording is for student, school, and local small orchestras. They don't pay enough for a big array, a hanging job, or even give me rehearsal time, they just get my best pair of mics and one of two tall stands. Sometimes a spot mic for soloists.)
1. If you want to get as far away from nasty relflective surfaces then you should think about placing your mics exactly halfway between the floor and the ceiling.
DISLCLAIMER: This isn't all that useful a rule as few people listen at such a position and you certainly can't when you are walking about deciding where to place your mics. HOWEVER having said that I often have nice results listening at ground level to decide on front to back placement and then extending the mics to halfway up the height of the room, it's unscientific but it often works.
2. If you are recording an orchestra without spots it often pays to get very high and focus your mics at the sections you would spot if you had the time/facilities (woodwinds/percussion). Hypercardioid ORTF works really well this way. The directional focus of the mics brings out the detail in the more distant instruments.
No hard and fast rules there but a couple more things to think about.
If you are on a budget for stands, the 13' Impact lighting stand works pretty well. You will need to get the proper thread adapters to use it as a mic stand. B&H sells the whole shabang for about $70.
I think AEA used to make a really great stand, but I cannot seem to find them. The Shure stands are okay, but make sure to do something to protect the threads at the end - I use a speedy clip on mine. The only other beef I have with the Shure stands is the shiny aluminum finish...
My apologies if this has been covered in another Remote thread already…but how do folks here take account of main mics height when the players in a chamber ensemble will be standing versus seated ? This would particularly affect the contrast in projection of a (seated) cello vs the other strings.
I can’t recall a specific mention of this factor in the Dunkerley et al Decca methods book…if it’s there and you’re able to supply a page reference that would be great 👍 !
Is it generally a case of adding a couple of feet to typical mic height, or do you leave the ‘seated’ mic height unchanged ?
Put them up where you think they should go. Then listen to the balances. If you hear too much of the performers up front, raise them. If you hear too much of the performers in back, drop them. Use your ears!
And don't be afraid to move the performers around either, if it's a studio recording.
--scott
My apologies if this has been covered in another Remote thread already…but how do folks here take account of main mics height when the players in a chamber ensemble will be standing versus seated ? This would particularly affect the contrast in projection of a (seated) cello vs the other strings.
I can’t recall a specific mention of this factor in the Dunkerley et al Decca methods book…if it’s there and you’re able to supply a page reference that would be great 👍 !
Is it generally a case of adding a couple of feet to typical mic height, or do you leave the ‘seated’ mic height unchanged ?
Thanks for your advice and expertise !
When the violins are standing I will put the cello on an extra high riser.
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Classical Recording - how high to place main mics?
