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What was your first (classical/acoustic) remote recording setup?
Old 30th June 2010 | Show parent
  #61
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loujudson's Avatar
 
2 Reviews written
🎧 10 years
Quote:
Originally Posted by EV676 ➑️
I recorded my high school's band concerts in the late 60's, probably with a couple of Shure Hi-Z ball mics. The first paying job was around 197
My effort actually got pressed onto vinyl. My name was on the record label as engineer! I remember getting my copy from the school band director, taking it home and listening to it. It sounded nothing like the master tape. It was compressed and eq'd to sound like bad AM Radio.
I hope the parents were happy.

No, I don't have the record anymore!

edited.
I guess I like audio.
Wow, we have some things in common, being old farts is part of it. My first Sony had magic eye meters too, very cool if inaccurate. But I was THRILLED to hear my work on vinyl! LRS did a marveous job on it, and it sounded better than the tape - couldn't even hear any hiss! Prepping it for mastering was very educational. I still use those primitive skills...

Lou
Old 30th June 2010 | Show parent
  #62
Gear Maniac
 
Hornblower64's Avatar
 
🎧 10 years
Den Haag, Nederland
5 years ago
Set of 3 Nakamichi CM-300 SDC (omni/card caps)
MOTU 896HD
My wife's MacBook G4
Old 30th June 2010 | Show parent
  #63
Lives for gear
 
🎧 15 years
My sister's piano recital in 1967: a borrowed Wollensak tube mono tape recorder (at least several years old at that point, borrowed from a school), with the small dynamic mic that stored in the lid. I had a single transistor-radio style "earphone". The mic cable was about 3 feet long so I had to be right next to the piano. I took it all very seriously and made a pain in the ass of myself. Some things don't change. Yes, there was an argument about paying for the tape.

Philip Perkins
Old 30th June 2010 | Show parent
  #64
Gear Nut
 
Lazerface's Avatar
 
🎧 10 years
2006. Foothills Brass Quintet, I knew one of the trumpet players and he gave me a good chance to start out. NT5 in xy to a Presonus Firepod to laptop. After that show, I remembered to never stop recording once the concert starts, cuz anything can and will happen! Oh, and 25ft back from the stage is not a great mic position

With luck, I've gotten some more work since, and hope to eventually add some better mics to my locker. The NT5's have done a great job for me so far, but I want moar!
Old 1st July 2010
  #65
Gear Maniac
 
4blades's Avatar
 
🎧 10 years
In the first times:
a crappy fostex d-5, neumann k-184 mic pair.

Then moved to:
Qes labs Smp-2, DPA 4011-tl pair, Prism AD-2
Old 1st July 2010 | Show parent
  #66
Lives for gear
 
mpdonahue's Avatar
First setup was a Revox B77 with a home made preamp and a pair of AKG451's (With the windscreens because they were Soooo bright).
Quickly upgraded to a pair of Km-83's with and additional pair of KK84 capsules and a PCM-F1 with a pair of SL2000's. Used that rig for probably 4 or 5 years till I started at Soundmirror...
Funny enough I was cleaning out the attic last week and found the printout of my accounting for the first year of recording. I came out $587 in the hole......

All the best,
-mark
Old 1st July 2010 | Show parent
  #67
Lives for gear
 
hbphotoav's Avatar
 
🎧 10 years
First "pro" gig (leading to a second, btw...) was a Christmas album for Highland Baptist Church in Waco TX in 1976. Teac A3340S @15ips; Sony C55FET main pair; two Primo pencil mics for solos; weak link: Peavey 800s stereo mixer. But... like I said, it led to a second album four years later. Same main pair, with Beyer M500s for the solos, through a decent little Yamaha PM430. Both were recorded direct to stereo main tracks... the second album was recorded with choir and organ first, then the church orchestra was tracked, also direct to stereo, and mixed down to a Teac A3300.

Then I moved to Ohio to be a photographer, doing mainly board mixes for the little gospel country and bluegrass bands I mixed on the weekends. Still have the C55FETs and the A3340S, but have moved to DAV/Apogee/Logic and Sennheiser/Gefell/DPA main pairs.

HB
Attached Thumbnails
What was your first (classical/acoustic) remote recording setup?-c55_full.jpg   What was your first (classical/acoustic) remote recording setup?-800stereo.jpg  
Attached Images
What was your first (classical/acoustic) remote recording setup?-unknown.jpeg 

Last edited by hbphotoav; 1st July 2010 at 04:36 PM.. Reason: matheiujm reminded me of the name of my Primo mics, stolen in the '70s...
Old 1st July 2010 | Show parent
  #68
Lives for gear
 
🎧 10 years
In 1980, a Teac K7 recorder + an Uher mixer + 2 BST mics (then Primo).
I found that my K7 recorder was producing less noise (with Dolby) than the B77 of my best friend.
But it was so difficult to have some stability from one K7 to another ! Like a pro, I was tuning my recorder with the K7 to be used before each serious concert recording. Not easy with a two heads machine !
The revolution came later with the DAT.

JMM
Old 1st July 2010 | Show parent
  #69
Gear Addict
 
Mark A. Jay's Avatar
First Classical Recording Setup

Microphone: Neumann KU 100.

Recorder: iRiver iHP-140.
Attached Images
What was your first (classical/acoustic) remote recording setup?-ku100.jpg What was your first (classical/acoustic) remote recording setup?-ihp-140.jpg 
Old 2nd July 2010 | Show parent
  #70
Gear Maniac
 
zoom's Avatar
 
🎧 15 years
early '90s, very beginning:
a Sony DAT Walkman (TCD-D3), Neumann BS48i power supply and a pair of Gefell UM70s mics which feeded the Sony's mic-preamps asymmetrically.

But the equipment was growing soon, the setup above was not very reliable... with a DA30-MK II and a Behringer PreQ mic 502 and still the UM70s Mics.
Have still all of these things and (exept of the Gefell Mics from time to time) this equipment is not in use anymore.
Old 3rd July 2010 | Show parent
  #71
Lives for gear
 
Teddy Ray's Avatar
 
🎧 10 years
Quote:
Originally Posted by mpdonahue ➑️
First setup was a Revox B77 with a home made preamp and a pair of AKG451's (With the windscreens because they were Soooo bright).
Quickly upgraded to a pair of Km-83's with and additional pair of KK84 capsules and a PCM-F1 with a pair of SL2000's. Used that rig for probably 4 or 5 years till I started at Soundmirror...
Funny enough I was cleaning out the attic last week and found the printout of my accounting for the first year of recording. I came out $587 in the hole......

All the best,
-mark
Mark, how did you get the soundmirror gig? You guys did the Living Stereo remasters didn't you? You still have those Siltech Cables and the Fancy Aria outfitted studer?

very jealous of that gig, man. That must have been amazing hearing those masters.....
Old 3rd July 2010 | Show parent
  #72
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JonesH's Avatar
 
4 Reviews written
🎧 10 years
Quote:
Originally Posted by Mark A. Jay ➑️
Microphone: Neumann KU 100.

Recorder: iRiver iHP-140.
That's not the most common combo, I wager! Mind telling us how you ended up with that in particular?

I think I should say my first setups were from my school so I guess a nice mixture of SoundDevices SD702 for 2ch recording, a Tore Seem broadcast mixer with nice pre's and atrocious amounts of oxidation, a lot of nice mics from the school (DPA/Neumann).
Old 8th July 2010 | Show parent
  #73
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mpdonahue's Avatar
Quote:
Originally Posted by Teddy Ray ➑️
Mark, how did you get the soundmirror gig? You guys did the Living Stereo remasters didn't you? You still have those Siltech Cables and the Fancy Aria outfitted studer?

very jealous of that gig, man. That must have been amazing hearing those masters.....
Teddy,
I got my job at Soundmirror the old fashioned way.... I started as an unpaid intern, kept my eyes open and my mouth shut and did good work. Eventually got hired as a tech and from there worked my way up to where I am today. I had the opportunity to have a couple of great engineers take a liking to me and request me on their recordings. This gave me the opportunity to see how some the icons of the industry made records. They took me under their wing and spent the time to explain to me their philosophies and techniques for making recordings and I had the opportunity to see these ideas in action. From there it's just like the old saying... You steal from the best and make up the rest...
As far as Living Stereo- I mastered the entire SACD catalog. Yea, it was really interesting going through all the different masters from all the different periods of Living Stereo. From the original test recordings in Boston in 1954-5 through the Three-Track Stereo there was a steady progression in the methods of recording for stereo and each engineer had their own concept and style.
The thing to remember that up until 1959, most of the stereo recordings were engineering exercises, with very few released on 1/4" stereo tape. Most weren't released until after stereo LP came into being in 1959.
All the best,
-mark
Old 8th July 2010 | Show parent
  #74
Gear Addict
 
Mark A. Jay's Avatar
It happened like this...

Quote:
Originally Posted by JonesH ➑️
That's not the most common combo, I wager! Mind telling us how you ended up with that in particular?
Well, it was a matter of circumstance. I had the mannequin head with me when visiting an old friend / colleague on a sort of road-trip. Some friends of his were in a community orchestra and had asked him about being recorded. At the time I had an RDAT recorder that decided it no longer had any interest in operating. So...I ended up using my friend's iRiver iHP-140 at the last second, and it worked quite well.

I liked the iRiver so much that I opted to buy one, and then replaced its hard drive with a larger variant. I thought that for the money, it was hard to beat (optical digital I/O, analog, built in memo-mic, universal FM tuner) and had the advantage of looking like any external USB drive - I didn't want to be forced to use any management software such as iTunes, Media Player etc.

Anyway, I used that recorder a few times after that (with varying results) simply because I was either situationally short of gear or was experiencing other equipment failures.

As they say... "any port in a storm".

Last edited by Mark A. Jay; 8th July 2010 at 02:42 PM.. Reason: typos etc
Old 8th July 2010 | Show parent
  #75
Lives for gear
 
Teddy Ray's Avatar
 
🎧 10 years
Quote:
Originally Posted by mpdonahue ➑️
Teddy,
I got my job at Soundmirror the old fashioned way.... I started as an unpaid intern, kept my eyes open and my mouth shut and did good work.

Thanks, Mark. I appreciate it very much. What a pity it is that this sort of "working up the ranks" or "master/student" dynamic is absent today..
Old 8th July 2010 | Show parent
  #76
Lives for gear
 
mpdonahue's Avatar
Quote:
Originally Posted by Teddy Ray ➑️
Thanks, Mark. I appreciate it very much. What a pity it is that this sort of "working up the ranks" or "master/student" dynamic is absent today..
I would tend to disagree with this. There are still places that you can get this same kind of situation. The problem is that there are WAY too many people out there that go to an 8 week course and think that they know everything that they need to know to be a master at the craft.
Of the 7 people that we've hired here at Soundmirror in the last 20 years, 5 of them were interns at one point.
The trick is to find a place where people are doing real work at a very high level and learn the craft.

All the best,
-mark
Old 8th July 2010 | Show parent
  #77
Lives for gear
 
🎧 10 years
Quote:
Originally Posted by Teddy Ray ➑️
Thanks, Mark. I appreciate it very much. What a pity it is that this sort of "working up the ranks" or "master/student" dynamic is absent today..
I make a pretty good cup of coffee heh
Old 8th July 2010 | Show parent
  #78
Lives for gear
 
🎧 15 years
I went through the apprenticeship route as well... It isn't quite dead yet.

I worked for somebody without pay for 2 or 3 years after I got out of college. I knew music and performance well by that point and needed to learn higher end audio. I was a completely amateur, but a couple engineers here in LA let me work with them and learn the way to (and not to) deal with the industry. From there, I took a low-paying job working for another engineer where I got another view on how to work.

Even as a "professional," I have taken the opporunity to learn from others. I've assisted for some pretty amazing engineers and just talking shop with them has turned me on to possibilities that I never would have seen before. The collective knowledge here on GS has just been another avenue for me to trade and learn new ideas.

--Ben
Old 8th July 2010 | Show parent
  #79
Lives for gear
 
boojum's Avatar
 
1 Review written
🎧 10 years
Quote:
Originally Posted by fifthcircle ➑️
I went through the apprenticeship route as well... It isn't quite dead yet.

I worked for somebody without pay for 2 or 3 years after I got out of college. I knew music and performance well by that point and needed to learn higher end audio. I was a completely amateur, but a couple engineers here in LA let me work with them and learn the way to (and not to) deal with the industry. From there, I took a low-paying job working for another engineer where I got another view on how to work.

Even as a "professional," I have taken the opporunity to learn from others. I've assisted for some pretty amazing engineers and just talking shop with them has turned me on to possibilities that I never would have seen before. The collective knowledge here on GS has just been another avenue for me to trade and learn new ideas.

--Ben
The pro end of this still seems to very much be a guild. A lucky few are admitted to learn. And by the same rules as in the Middle Ages - humility and little or no wages - can be admitted to higher and higher circles of learning. From what I have been able to gather there is stuff going on out in the field that is just not covered in textbooks. The black art and magic of superb recordings, learned from wizards.

Not having access to any of this in my location has not diminished my interest or zeal. It does make progress slow and irregular. While often frustrating it is always a joy to wind up with something that sounds good.
Old 24th April 2013 | Show parent
  #80
Here for the gear
 
🎧 5 years
Quote:
Originally Posted by loujudson ➑️
Easy. Sony 464 CS 1/4 track deck with its original mics. Later I got a pair of F-67 omni dymanics ($17 each!) and made my first record (Tamalpais High School Choir doing the Vince Guaraldi Jazz Mass, 1967. I was the bass player too).

I still have a copy of the record!

Lou
Very cool, Lou! Have you seen this recent blog post about that event and recording, over on Derrick Bang's fantastic Vince Guaraldi website? You should definitely chime in on the Comment section (if only to let folks know that *you* deserve the recording credit, rather than Mr. Nelson! )

If there is any way to share your audio from that event (which Guaraldi himself attended, apparently?), I'd love to hear it!
Old 25th April 2013
  #81
Lives for gear
 
loujudson's Avatar
 
2 Reviews written
🎧 10 years
OMIGODDESS! (sorry, I'm from Marin) Yes indeed I will examine that and chime in for sure. I still have the orignal tape and the dupe master I sent to Location Recording Services to get the record presssed, as well as a few copies (at least one unopened) of the Lp.

Lots of stuff on my plate right now, but will share it as time allows.

Really cool, thanks a lot!

I used to go see and hear Vince at the Trident in Sausalito, and Brian Mann and I went to his home in Mill Valley several times while preparing for the concert. Takes me back just to think about it!

Thanks!
Old 25th April 2013 | Show parent
  #82
Here for the gear
 
🎧 5 years
Quote:
Originally Posted by loujudson ➑️
OMIGODDESS! (sorry, I'm from Marin) Yes indeed I will examine that and chime in for sure. I still have the orignal tape and the dupe master I sent to Location Recording Services to get the record presssed, as well as a few copies (at least one unopened) of the Lp.

Lots of stuff on my plate right now, but will share it as time allows.

Really cool, thanks a lot!

I used to go see and hear Vince at the Trident in Sausalito, and Brian Mann and I went to his home in Mill Valley several times while preparing for the concert. Takes me back just to think about it!

Thanks!
Fantastic! And I can't wait to read your recollections added to the mix: What a great story. (And count me, as a die-hard Guaraldi fan, WAY envious of your having been able to catch Vince at the Trident!)
Old 25th April 2013
  #83
Lives for gear
 
Lotus 7's Avatar
As an intern at a classical FM station I had to lug around a Ampex 600 full track and either a RCA BK-1A which worked directly with the Ampex 600, or a 77DX and a OP-6 mic preamp plus power supply. With a mic stand, headphones, and cables it was over 100lbs. for a mono recording. That was a long, long time ago, but I probably can still thread and run an Ampex 600 in my sleep. The studio had Ampex 300's, early Crown stereo decks, and RCA DC powered 16-inch cutting lathes.

A nice contrast to today's SD788T and 6 to 8 MKH8020/8040s, CMC62s and DPA4006s and cables (lightweight L4E5C) for a total weight of about 28 lbs without the stands for (8) tracks. Still looking for a carbon-fiber mic stand maker! (Know about the Audix C-F boom.)
Old 25th April 2013
  #84
Lives for gear
 
🎧 10 years
Early 1990's: Beyer M101's > Beyer MV100 > Philips DCC175 (still have these, though the DCC is dead)
Old 25th April 2013
  #85
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Plush's Avatar
 
5 Reviews written
🎧 15 years
Year was 1981:

2 AKG 414 into a home made preamp feeding a Studer B67. Studer was "portable" with handles on the sides. 85 lbs. of "portable." Nasty Shure aluminum stand with AKG stereo bar.

Got to record in very good halls as a beginner. This made all the difference.

Within 7 years I had 60 clients. Began working in Germany for Tonstudio Van Geest. Recorded 285 recordings a year for 15 years straight.

Now I work on a lot of high profile recordings, do live broadcast at WFMT radio and do consulting as well.
Old 26th April 2013 | Show parent
  #86
Lives for gear
 
🎧 10 years
Acquired the taste in 1962 as tape op for a location recording of a student revue in the MU Union Theatre, comprising a pair of U47s hung (very carefully!) out of the FOH blister spot holes, feeding a early stereo Ferrograph. The sound made a lasting impression.

My first stereo location rig (1973) - a Uher 4200 (the poor man's Nagra 4S) and a pair of AKG D202s in 90 degree XY. (By the late 70s, it was a pair of C414EBs, with battery power supplies.) Learnt a lot with that rig, especially with the limitation of only 22 minutes continuous recording before tape change. (It was still the basis of my remote work for radio into the 90s - until MiniDisc arrived.)

In 1984, my first digital recording for broadcast was made on Sony PCM501 and a C9 Beta VCR, a self-designed pre-amp using Jensen transformers, and the C414EBs. (It was later used for my first recordings that made it onto CD in 1991.) Much lighter and cheaper to operate than the Otari reel to reel - 2 hours of CD quality recording on a $15 Beta cassette!

Ah, the nostalgic appeal of obsolete technology!
Old 26th April 2013
  #87
Lives for gear
 
Richard Crowley's Avatar
 
🎧 10 years
My first rig was back when I was a junior in high school (1965). With summer-job money, I bought a Sony TC-250 and a pair of Sony ECM-22 microphones. Lots of choral recordings, even to this day.

This weekend, I'm producing a multi-camera HD live-switch video and multi-track audio recording of a ~150 voice mens' chorus with orchestra. It will be live-streamed if we can get everything to work. I'm doing the audio (tracking and live mix) myself.
Old 26th April 2013
  #88
Lives for gear
 
🎧 10 years
Reps M10 recorder, Film Industries ribbon mic. 1969, recording the Roger Wagner Chorale in a London church (St Mary at Lambeth, now a museum of garden history). I still have the tape, and last time I tried it, it played.

(Edit - Heh, getting to the stage where I'm repeating myself. I already posted that on the first page of the thread - but that was a few years ago so maybe I'm allowed to have forgotten it).
Old 26th April 2013 | Show parent
  #89
Gear Head
 
Notsosane's Avatar
 
🎧 15 years
In 1972, my college symphonic band, with two EV 667A's into a portable Sony TC-770, on Ampex 661 tape. One of the 667A's lived in the control room of the college radio station along with the TC-770.
I still have the recording; hissy, but not bad.
Attached Thumbnails
What was your first (classical/acoustic) remote recording setup?-1518.jpg   What was your first (classical/acoustic) remote recording setup?-control-room.jpg   What was your first (classical/acoustic) remote recording setup?-tc-770.jpg  
Old 26th April 2013
  #90
Lives for gear
 
🎧 10 years
In 2009 I was reading our local paper ' The Stroud News and Journal 'and noticed an article 'Long lost sounds bought back to life'
Chris Challen, a musical instrument conserver from Chalford, had discovered fragments of a lost Scarlatti work in side a 400 year old guitar.
Several pages of the score had been cut into strips and glued inside the body to reinforce numerous cracks.
They lay hidden for 300 yrs, until Chris removed the soundboard for examination.
The fragments were cleaned and painstakingly re-assenbled and were about to be performed by the Le Page Ensemble at the Stroud Arts Festival.
This sounded fun, I went to see Chris and he arranged for me to record a rehearsal of Fragments of an Oratorio with the Ensemble.
I borrowed a Nagra VI from a composer friend and used a pair of my MKH 30s that I used in my now retired Film work as a Recordist.
We had one and a half takes and that was it, they moved on ,busy people.
The resulting fragment fired my imagination in my retirement and led to recording archive for a bigger local musical festival, Im now in my 5 th year thanks to Alessandro Scarlatti and Chris.
Roger
Such is serendipity.
Attached Files

02 Scarlatti Fragment.mp3 (7.67 MB, 583 views)

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