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New Book Coming on Decca Recording Technique
Old 4 weeks ago
  #271
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🎧 5 years
I like 'Gordon Parry and the Italian Tea Boy' line in Humphreys commentary....
Old 3 weeks ago | Show parent
  #272
Quote:
Originally Posted by studer58 ➡️
I got a chance to try out the Decca 2 x 2 Tree tonight...AB 50cm omni main pair KM183... with MKH 8020 flankers.

You should be able to see them all in the front camera shot from the streamcast...no spot mics used.

Main pair were pannned 75% left and right, flankers/outriggers hard left/right

My thought was that additional spots might conspire to collapse the front to back depth... your thoughts and reflections on this 'spotless frontal quartet' welcomed !

https://vimeo.com/546802195
Could it be that the out-riggers are reversed panned? The stereo image is very confusing.
Old 2 weeks ago | Show parent
  #273
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🎧 10 years
Quote:
Originally Posted by Orgeltonmeister ➡️
Could it be that the out-riggers are reversed panned? The stereo image is very confusing.
It's quite possible....remedied in this return to same venue and setup (May 29th Vimeo) ....with addition of ORTF 'orchestral stereo spot' at the right of conductor's RH shoulder (for piano concerto only):

https://arts.adelaide.edu.au/music/e...concert-series

Concert commences at approx. 15:50.

Main AB pair panned out 90%, omni flankers 100% left/right
Old 2 weeks ago | Show parent
  #274
Quote:
Originally Posted by studer58 ➡️
It's quite possible....remedied in this return to same venue and setup (May 29th Vimeo) ....with addition of ORTF 'orchestral stereo spot' at the right of conductor's RH shoulder (for piano concerto only):

https://arts.adelaide.edu.au/music/e...concert-series

Concert commences at approx. 15:50.

Main AB pair panned out 90%, omni flankers 100% left/right
Stereo image is fine, nice recording and well played.
Old 1 week ago | Show parent
  #275
Lives for gear
 
🎧 10 years
The book has some good tips on spot miking for double bass (in both section and individual miking) in an orchestral context….but doesn’t address a situation where there might be loud brass or a tymp directly adjacent to a pair of basses….any suggestions (fig 8 maybe?)

Last edited by studer58; 1 week ago at 05:30 AM..
Old 1 week ago | Show parent
  #276
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fred2bern's Avatar
 
🎧 5 years
Quote:
Originally Posted by studer58 ➡️
The book has some good tips on spot miking for both double bass section and individual miking in an orchestral context….but doesn’t address a situation where there might be loud brass or a tymp closely nearby…any suggestions (fig 8 maybe?)
Plexi walls like "Clearsonic" work very well in this situation. Sometimes fig8 is not the ultimate solution because in some room, when it is really too loud, you have too much signal in the rear lobe.

"Treating" the room became something more and more important to me. The more the acoustic sounds good, the less you have to deal with microphone choice and positioning...
Old 1 week ago | Show parent
  #277
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by fred2bern ➡️
Plexi walls like "Clearsonic" work very well in this situation. Sometimes fig8 is not the ultimate solution because in some room, when it is really too loud, you have too much signal in the rear lobe.

"Treating" the room became something more and more important to me. The more the acoustic sounds good, the less you have to deal with microphone choice and positioning...
Oops…I should have mentioned it’s in a concert, not studio, context…so more ‘combat conditions/damage mitigation’ mode Thus plexi panels not possible…

I’m going to try a dynamic mic, most likely an Audio Technica ATM250, as that should give me the desired degree of ‘side deafness’ I’m seeking?

Last edited by studer58; 1 week ago at 05:30 AM..
Old 1 week ago | Show parent
  #278
Lives for gear
 
🎧 10 years
The ATM250 did the trick…who’d have thought a hypercard dynamic kick mic would have a place in this context ? I’ll post some audio in the next few days…
Old 1 day ago | Show parent
  #279
Here for the gear
Quote:
Originally Posted by Plush ➡️
Here's what I do:

I mic most things with stereo spots
a ton of tube mics
mostly omni mics (known as a real microphone)
no time alignment ever
spaced or non coincident mains
I don't record with any EQ
often mix directly to stereo with a Sonosax mixer
Mix to a Sonosax SX-R4+ recorder or to a Nagra Seven recorder or to a Stellavox SM-8 tape recorder
Reverb added at the session
I use an Acousence a/d converter
Hudson,
From what I've had the pleasure to listened to, your recordings are superb! I'm a bit late to this discussion. When you use omni spots, do you mean in studio? Do you find yourself a bit closer than you would otherwise be to your targets with omnis? And, what reverb(s) do you like? Thanks!
Old 18 hours ago | Show parent
  #280
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Plush's Avatar
 
5 Reviews written
🎧 15 years
Quote:
Originally Posted by rohlfie ➡️
Hudson,
From what I've had the pleasure to listened to, your recordings are superb! I'm a bit late to this discussion. When you use omni spots, do you mean in studio? Do you find yourself a bit closer than you would otherwise be to your targets with omnis? And, what reverb(s) do you like? Thanks!
Thank you for your questions. In general, like many here, I rely on something far and something closer. Main pair can be ORTF or NOS or spaced omni on a bar (Rens Heijnis modified B&K 4006). Most soloists are miced in stereo with cardioid or some wider variant. Piano always gets Schoeps MK2 omnis or Schoeps MK5 omni mics. Chorus with orch. gets Pearl CC-22 cardioid--usually 5 or 6 of them. Chorus alone gets main pair and Pearl accents close in.

In order to imitate a cardioid mic with an omni, I move in about half again as close as I would with a cardioid mic. Just adjust impression of directionality by ear.

Currently using SONOSAX analog mixer. For reverb I like QUANTEC Yardstick or Lexicon 92.

For a/d conversion I just switched to the German artistic-fidelity
ACOUSENCE 191 designed by Ralf Koschnicke. Best converter out there by far to my ear. Supplied by Roland Storch at ADEBAR ACOUSTICS, Wiesbaden, Germany.
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