- semi-pro players of chamber orchestra size
- new hall to me but probably studio theatre / lecture hall type of bad dry acoustics
- mics: AKG blue lines CK92/93/94, AT4021/2035, DPA4060, Line Audio CM3/QM12i, Rode NT5/45-O, Schoeps MK5
- repertoire: Bottesini's Grand Duo Concertante

The lowest note in that piece should be a B natural a half step below the lowest note on the cello. (ca 62 hertz fundamental)
It is, however, in the higher range where the most support will be needed.

A cardioid should be fine, but I am not all that familliar with your mics.
The schoeps is nice, but the highlift of the mk5 may need to be tamed at times, although it would be a great asset in the high harmonic runs.

If you have two, they should do a decent job for both instruments, although a pair of mk4 would be more ideal IMO.

Thanks! Ideally, I wish to have many Schoeps...

I would probably reserve the Schoeps for mains/flanks.
Others for spots - will try out the AT4021 cardioid and CM3 subcard and see!

I've had excellent results with AKG 414 TL's. They were reworked a bit, but sound outstanding, IF the instrument is good.

I also used them on Buel Nedlinger's cello CD, he said it was the best recording of his cello, ever. That includes 30+ years with the Boston Symphony and years of Hollywood soundtracks. I tried Schoeps first on his cello, he didn't like it nor did I.

On a budget note, the $49.95 MCA SP-1 with larger coupling capacitors is a sleeper on string bass. I've set up a few with players and they bring them to sessions, in case. They have been choosen over the "others" several times.

Where do you tend to place the m88?

Thanks.

I'm just wondering if anything much has changed in the miking landscape in the past 10 years or so, specifically in terms of being able to coax a little more definition and presence from a violone (gut strung contrabass, baroque era) which, in a chember ensemble context, has a way of sounding simultaneously woolly and lumpy (in terms of variable peaks and dips in projection) ?

It would be easy to 'over-spot' this instrument...yet without some help it 'wanders' around in the lower registers without a lot of authority and character, when there's only a main AB60 pair involved. Proximity to boundaries (eg reflective wooden panels behind) seems to help a little

I'll go and consult the "new Decca Bible' tonight, but I'm wondering if there are those familiar with showing this instrument in its' best light...in a chamber ensemble setting..to give some pointers ? I have a range of SD and LD potential spot mics to choose from, various patterns.

I'll give a recent sample (50 cm AB omni pair only, no spots) below...

My favorite until today is the Neumann TLM67, in cardio.
It gives me what I want when I need a bit more that what I already have in my main.

Fred

The TLM170 is a neutral and versatile microphone, especially for classical and film. I never used it as a bass spot, but used it on so many other things, I believe it would generally work great on bass, or bass section, and blend well with the other instruments.

An M149 is amazing on bass, but may suffer from too much bleed from nearby instruments (conjecture on my part).

i like the tlm67 too but don't own any so if i'm mostly using the mk21 or tlm170r; tlm107 or oc818 (all in wide or 'normal' cardioid) if i want some more definition/hf emphasis - or even the tlm103 for a healthy dose of hmf/hf.

Probably a U89 in cardio would be close to the mark then...?

Not having much of a Neumann palate to work with (other than a single TLM 103), I usually reach for my trusty AT4050, in cardioid or figure 8, when recording double bass or cello. I really prefer LDC over SDC in these cases...

Gefell M930s for me.

D.

Absolutely!

Sorry Jim I've been agonizing on the word "palate". I think you meant PALETTE: 1 : a thin oval or rectangular board or tablet that a painter holds and mixes pigments on. 2a : the set of colors put on the palette. b(1) : a particular range, quality, or use of color The designer's palette consisted mostly of earth tones.

Or did you mean what i thought you didn't mean?.....


Ray

Maybe Neumann's are simply not to Jim's taste !

You have both highlighted my miserable spelling to a 'T'.