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Live concert ambience recording for Dolby Atmos
Old 2 weeks ago
  #1
Gear Nut
 
Calypso's Avatar
 
🎧 10 years
Live concert ambience recording for Dolby Atmos

Hi guys,

What would you use as ambience/crowd mics and where would you put them for the recording of a large arena concert (20.000 people) with the final format being Atmos, 5.1 and stereo?

Would you place a mic for every bed or go the Ambisonics route or...

Thanks for your input!
Old 2 weeks ago
  #2
Gear Guru
 
1 Review written
🎧 5 years
i'd probably use a couple of ambi pairs across the venue and upmix but of course a flown double m/s or ambisonic mic decoded to 5.1 and an double ortf for the 4 height channels will also do... - makes for a pretty small yet highly efficient array (which is way easier to deploy than a couple of ambis spread across the venue)!

Last edited by deedeeyeah; 2 weeks ago at 12:33 AM..
Old 2 weeks ago
  #3
Gear Maniac
 
🎧 15 years
Recording of large live events very much not my area of expertise, however from a mixer's perspective a few things to watch out for come to mind...

- Audience applause sits somewhere between white and pink noise, and as such won't give upmixing algorithms much to work with in terms of separating out components. Older ones that do delay/modulation shenanigans to populate rear channels might sound downright phasey.

- Coincident mic techniques tend to sound more and more mono with increasing distance and in very reverberant spaces.

- If it's a rock-type concert and you anticipate there might be some singing along or clapping (hopefully on the 2&4) then some coverage lower down near the front with the most enthusiastic crowd would be advantageous.

If you've got the mics and the channels then I'd try and get a mic per bed channel and 4 for the overhead. As there'll be no chance to check and re-rig then I'd say the more options the merrier in this instance!
Old 2 weeks ago
  #4
Gear Nut
 
Calypso's Avatar
 
🎧 10 years
Exactly, I'll be putting/hanging as many mics as possible. Will probably construct something like the Schoeps ORTF 3d, an ambisonics mics and a few classic pairs near the stage.

Good point about the coincident pairs... Will def keep that in mind.

As a side question: I always struggle in post with tuned vocals vs the unturned vocals in the ambience mics. How do you go about it? Was thinking of trying to record the IR of the arena and use that to compensate for having to duck the ambience during some tuned notes. But that doesn't work well when the audience is actually clapping along. I guess melodyne doesn't let you tune the vocal spill in ambience yet, right?
Old 2 weeks ago
  #5
Lives for gear
 
fred2bern's Avatar
 
🎧 5 years
When I record an orchestra in a live situation, if needed I use Melodyne on the stereo master, because of this spill problem.
Sometimes the algorythm finds the notes to tune, sometimes not, and when it finds the notes it's not always possible to tune because it does also and of course modify the blend of all harmonics of the spectrum.
Sometimes you can really make adjustements, sometimes it's just not possible to really tune because you hear it.
Old 2 weeks ago | Show parent
  #6
Gear Maniac
 
🎧 15 years
Quote:
Originally Posted by Calypso ➡️
Exactly, I'll be putting/hanging as many mics as possible. Will probably construct something like the Schoeps ORTF 3d, an ambisonics mics and a few classic pairs near the stage.

Good point about the coincident pairs... Will def keep that in mind.

As a side question: I always struggle in post with tuned vocals vs the unturned vocals in the ambience mics. How do you go about it? Was thinking of trying to record the IR of the arena and use that to compensate for having to duck the ambience during some tuned notes. But that doesn't work well when the audience is actually clapping along. I guess melodyne doesn't let you tune the vocal spill in ambience yet, right?
For big shows like that, honestly most of the time most of the venue ambience I generate with reverb rather than crowd mics. If the vocal is the predominant thing coming out of the PA then you might get away with tuning the audience mics (offline with a pitch shift) in unison with the vocal, but if tuning is something you have to do then I'd build my ambience with reverbs and just fade up the crowd for applause and audience interaction bits.
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