Topic: Team classical recording

[mfrench]

Headroom!!
The *Barber piece is so friggin quiet that you'll get breath noises if the mics are close at hand.
Anything above that, and you're looking at a need for _at least_ 25dB headroom because of it.

*became the "US nat'l song of mourning" during JFK's assassination and wake/funeral period.

[Gutbucket]

Thanks Mike!

That's the challenge in these situations, which litterally range from a whisper to a scream.

BTW, caught a great chamber trio last weekend.  Music for clarinet, cello & piano in a nicely intimate room.  A series organized by the cellist and held in a local operatic space - both of which I had somehow overlooked it for years, right under my nose.

Featured Julian Milkis on the clarinet, originally from St. Petersburg, Russa, the only student to study under Benny Goodman- an incredibly expressive and virtuosic musician.  Saw a listing in a local monthy news rag at breakfast on Sat and headed over to hear the performance the next day. What a suprise treat.  Performed works by Louise Farrene, Robert Kahn, Mendelssohn, Nino Rota, and added two fantastic Astor Piazzolla pieces as an encore (noted as his favorite modern composer).

[Gutbucket]

The *Barber piece is so friggin quiet that you'll get breath noises if the mics are close at hand.

^^
Sure enough, the conductor was a heavy breather, sucking in a sizable breath just before each movement, but I caulk that up to adding sonic emotion and atmosphere.

Of course there were the usual assorted, not especially helpful audience noises: snorting, wheezing, snorkling, hauckling, rustling, fidgeting, scratching, and jangling we've all fretted about at some time or another- but it struck me this time that most of those offenders are actually church-mouse quiet during the climaxes and do all the noisy stuff during the more quiet bits.  I visually confirmed this by observing no less than 3 separate chronic fidgeter/noisemakers who sat completely motionless, holding their breath during the big, noise blanketing climaxes.  Irony.

My partner has been training for a mini-marathon and had strained her right calf muscle last week.  We parked about a 1/2 mile from the venue and was hurrying over there when she stepped off a curb and severely tore the muscle a few blocks from the venue.  She was in severe pain and unable to walk. I managed to get the car, drive her to the theater door, nearly carry her to the seat, park the car again and return just before the start of the performance.  I sprinted to a drug store at intermission and bought ibuprofen, instant cold packs and a compression bandage to patch her up for the remainder of the performance.  Ouch.  She was in severe pain, but still turned a grimaced face to give the eye to one especially offensive jangler/rustler/whisperer who immediately shut up for the remainder of the night.  Not a technique I'd choose to use regularly but highly effective!  That fact that she is a true recording asset is only one of the minor reasons that I lover her.

[boojum]

GB -  Just finding a babe who will tolerate the recording insanity is a great deal.  You took home the pick of the litter!    ;o)

[Gutbucket]

I can't complain much.. at least about that particular aspect of our multi-faceted relationship.  If anything, she is quick to judge and much less tolerant of 'bad' music, which I can more easily endure while waiting for a redeeming musical moment or listening to the purely technical aspects of a recording.  But that's probably a good check on the audio geek in me.

[edit] On the topic of audience noises- the last few chamber/symphonic things I've recorded had moments at the end of particularly impressive or moving pieces where, as the final notes died away to silence, a number of people can be heard releasing soft sighs of emotional delight/melencholy/profundity.  That stuff is an especially welcome contribution to the 'liveness' in my recordings.

[dean]

[edit] On the topic of audience noises- the last few chamber/symphonic things I've recorded had moments at the end of particularly impressive or moving pieces where, as the final notes died away to silence, a number of people can be heard releasing soft sighs of emotional delight/melencholy/profundity.  That stuff is an especially welcome contribution to the 'liveness' in my recordings.

Agreed.  Appropriate, well timed moments of audience delight can really make a recording, especially with all the "extreme close up" recording I do which can make for "canned" sounding recordings without the audience.

Also, Lee, that's a hilarious story about your partner!  Karen's the same way, though I've never seen the effects when enduring injury.  If the next scene I'm in gets out of hand, maybe I'll stomp on her foot at set break!      

[DSatz]

The Tschaikowsky symphony has full brass and tympani with many real fortissimo passages, especially in the outer movements.

[rhinowing]

hey guys--i am pretty much a noob with classical recording. This is a short sample of the recording I did of Kronos Quartet and Wu Man tonight (SP-BMC-2>R-09--I have to run 007 setup due to insane venue security). I was about 30 feet back, close to center. All I've done with it so far is amplify...how do you guys think it sounds? I was also wondering if there are any common EQ curves or anything you'd recommend using on it.
(instrumentation was string quartet plus a chinese lute, with some assorted percussion thrown in)

http://netfiles.uiuc.edu/valocch1/eastisred.mp3

[boojum]

"The East is Red!"   That's an old chestnut.   ;o)

Sounds good but distant.  I am assuming you recorded this in the PRC.  True??

[rhinowing]

nope, central illinois... . Guess I'll be running cards next time

[jnorman34]

hi boys and girls - didnt want to let this thread disappear. 

btw - what are youse guys using for monitors these days?  i need to pick up a new pair of powered monitors for my studio...

[boojum]

Jim -  I am running a pair of the old Mackie HR824's.  They are not the best for classical but they work OK.  When I am really fish fry flush I would like Spendors similar.  Like I really need them.  ;o)

[guysonic]

New classical postings going up on my site in next few days thanks to old friend/customer recording three different venues. 

One is complete Mahler 8th in two parts. 

Another is a well performed by pro orchestra Dvorak Cello Concert.

And a third is a more spiritually oriented 'Midwest Motetsoc' choral presentation.

These selections are quite lengthy so doubt any but the most interested in excellently recorded classical/choral would be downloading and listening to these, but this is THE thread for such interests.

You will find these on my recordings page in the performance section at: www.sonicstudios.com/mp3_2slp.htm

[SClassical]

Most well known classical CD companies like DG, Sony Classical, EMI, RCA etc monitor their recordings using B&W speakers especially the 800 series:

http://www.bowers-wilkins.com/display.aspx?infid=4621

I use the B&W805s and I must say they do sound the best I've heard..

They are very clear, clean, powerful and well balanced that it makes you feel you're in the concert hall!!!

They are a bit pricey but worth every penny!

[boojum]

Tannoy concentrics are supposed to be killer.  The British speakers are good.  The Tannoy's are used by a few mixers who like their coherent sound.  I have not heard them and am only passing on what I have read.  I would like to hear them, for sure.