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Classical voices sounding like pop-stars
Old 14th October 2022 | Show parent
Lives for gear
🎧 15 years
Originally Posted by Lucas_G ➡️
Hi David, did you record this? Sounds quite convincing, especially considering the long distance! How far was the mic from the singer actually? What mics were used? Nothing else (like AB) added?

It sounds wet, but not overly so because it still feels like a natural reverberance.

I am intrigued by the long distance which can be a great advantage in a lot of circumstances (like when having to deal with cameras).
Yes I did. I reckon the mics, a single Senn MS MKH pair (40/30) would be around 6m from the singer. It goes to show what a good acoustic can offer in support.

Here is another example from the same concert.

Again no spots, no harp spot in particular, long distance main pair.
Old 15th October 2022 | Show parent
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Earcatcher's Avatar
🎧 10 years
Originally Posted by David Spearritt ➡️
Another submission. Recorded with a single MS pair a long way from the singer.

Too wet?
To go with the imagery (which is from a distant camera), quite adequate, but when listening to just the sonic image, too wet for my taste. For my ears everything is happening somewhere at a distance and not very involving when played on speakers without the video.
Old 15th October 2022 | Show parent
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Earcatcher's Avatar
🎧 10 years
Originally Posted by Lucas_G ➡️
Hi Earcatcher, yes the voice is convincing. In this case it is maybe even a tiny bit on the dryer side but still very nice. The recording as a whole is very good, but it seeks to put everything quite close to the listener with a lot of detail and drama. These are all valid choices, but personally I might prefer a somewhat more distant and relaxed sound, but that is really very subjective. I must add that I only listened now on headphones (Philips Fidelio X2HR - marvellous phones, so grab them for these silly prices while you still can!), so on speakers the relatively close feeling may be different. Thanks for sharing this very nice recording!
Thank you for your comments. Yes, detail and drama is what I prefer for operatic recordings (and the Stabat Mater sample goes even further in this vein); I like to "see" what's happening in the sonic image, by lack of visual cues. Mix was made with speaker presentation in mind and headphones as secondary only. "Dryness" is often a result of the linearity of the playback system: some systems will let you listen deep into the softer tones of the reverb, whereas others will drop those softer sounds relatively quickly into inaudible levels. When mastering I have found this to be one of the biggest challenges, since there is no way to find the perfect balance between direct and reverberent sound for all possible playback systems.
Old 2 weeks ago | Show parent
Here for the gear
Hi fellow engineers!

Thank you for this thread, dear @ Lucas_G which actually made me joyn GS. I found this discussion because I googled "Goerne reverb" after having listened to the recording in question, and now I'm happy I am not the only one (interestingly, the reviews I could find did not mention this reverb business at all -tells you something about the quality of the average review, too).

I would like to add one thought- I have actually sent this recording to an older engineer/friend of mine a couple of months ago, because I was so flabbergasted to almost the point of amusement that I wanted to share it. Turns out, he thought nothing was wrong with it. So I am wondering: might this actually also be a question of age and hearing? Because what's actually problematic about the recording and the reverb is the sheer brightness of it. Of course, there's also too much of it, but I think I could swallow that if it had a more natural (darker) timbre.

Anyway, but of course there are more things wrong with it (comb filtering on the voice, all the breathing noises being unrealistically amplified and also the piano having a slight pumping from a badly tuned compressor, at least in the last piece on the album).

As for the moving of the voice, I am all team Lucas_G, this usually does not bother me so much. I usually use a spaced pair of cardioids on voice as spot mics, and when I feel I have to work against some L/R jumping, I either automate the balance, or I make it narrower by adding l to r and r to l on additional tracks that I delay so they are in phase with what they are added to (in essence, I would do a panning with delay and level). That way one can avoid the comb filtering that one gets when just making it more narrow in the mix just by normal panning.

I will look at what Yannick wrote though, this is super interesting, thank you.
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