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AB Stereo Capture Despite COVID Spacing
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Arrow AB Stereo Capture Despite COVID Spacing

Starting last fall I have been lucky enough to provide the audio capture for a classical livestream series in a local church. Besides having good acoustics (moderately live), the music director/conductor and video person were a pleasure to work with and getting good audio was considered the highest priority so I could place mics in the best position.
With typical setups, a stereo main pair behind the conductor is ideal, and for some of the programs my Soundfield DSF-1 in Blumlein behind the conductor was very good. For a larger orchestra (greater width and depth) I needed to add area spots to boost the instruments in the back ( further from the Blumlein “main pair”.
For some smaller groups I used a 2ft spaced pair of Josephson C617’s.
For a chamber orchestra presentation of Mozart #40 and Copland’s Appalachian Spring I was able to get a very nice balance with a pair of Josephson C617 omni’s located closer to the center of the orchestra, approximately 4 1/2ft apart, 7ft high and pointed straight up (to avoid emphasizing the instruments closest to the mics). Having good, moderately live room acoustics made this
non-standard pick-up work. In the video the C617’s can be seen in the center of the orchestra on either side of the red carpet. The tall stand behind the conductor was the DSF-1 in Blumlein which sounded pretty good but not as good as the C617 pair. The C617 pair was captured via Gordon preamp to Sonosax SX-M2D2 then via USB to laptop running OBS to generate the Youtube livestream. The Mozart sounds good but to my ear, the Copland (second half of the program) is special.
Here’s the video link:

For a Soundfield DSF-1 capture in this same church, see

Blumlein’s high directivity plus maximal “side” rejection (above, below and left and right anti-phase) helps with coping with COVID-spacing
and moderately live spaces (with no audience to absorb sound).

A good sounding space helps a lot when dealing
with COVID spacing.
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