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Author Topic: on-stage taping  (Read 27840 times)

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Offline newplanet7

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Re: on-stage taping
« Reply #30 on: August 10, 2011, 10:16:46 PM »
really great recording situations
I dig this jazz trio stuff the most
oustanding musicians
all instrumentals
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masterful improvisations
Post of the year. Couldn't agree more.
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Offline Gutbucket

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Re: on-stage taping
« Reply #31 on: August 24, 2012, 12:52:49 PM »
The on-stage taping jazz trio gig I posted about last year is still going.. here are a few photos of an interesting setup last night.  I remembered to bring a camera this time since I was looking forward to running three TLs thanks to Xpanding Man lending me one of his:

My overkill setup with 8 mics into the DR-680-
1) MG M94 pair in ORTF
2) Three ADK TLs in an L/C/R triangular supercardioid arrangement.  Each mic attached to one leg of the stand base.
3) Three DPA 4060 omnis- one boundary mounted to stage surface in the rubber DPA boundary mount, forward of the MGs and ADKs.  The other two gaff taped to the front wall of the stage facing out into the room, boundary mounted about 8' apart and a foot or two below stage level (not visible in these photos).

The other setup visible in the photos is Spyder9's AKGs in DIN,  not visible here is Xpanding Man's double setup of Busman's and ATs just to the right of Spyder's rig and mine.

Partial view of my setup from above.  Visible in this photo are the ORTF MGs, the Center and Right ADKs, and if you look closely, the center 4060 in black rubber boundary mount taped to the floor in front of the center TL-




View from the left side.  Visible here are:
Spyder's camera, his stand with AKGs at the top, DVD battery, Niant Little box and M10s at the base. 
My ORTF MGs in Shure vert bar supported by the folding stand base, angled back to face the mics upwards. The three ADK TLs (big thanks to Xpanding Man for lending me the 3rd TL in the center!, which is also tilted back), and the barely visible center 4060 taped to the floor about 6" forward of the center TL.
A small part of Xpanding Man's stand immediately behind can barely be seen poking out on the right behind Spyder's stand-




Another view from above showing Spyders's AKGs, my MGs and TLs and the angles on them-


« Last Edit: August 24, 2012, 01:09:52 PM by Gutbucket »
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
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Offline T-90

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Re: on-stage taping
« Reply #32 on: August 24, 2012, 12:55:41 PM »
You are all jerks  ;)
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Offline Gutbucket

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Re: on-stage taping
« Reply #33 on: August 24, 2012, 01:06:04 PM »
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Jimna

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Re: on-stage taping
« Reply #34 on: August 24, 2012, 01:09:54 PM »
Cool, I would love to hear the results.

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Offline Gutbucket

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Re: on-stage taping
« Reply #35 on: August 24, 2012, 01:22:42 PM »
Spyder will probably get his up on Archive pretty quickly. He taped last month there with me and mentioned last night that he'd posted it.

I'm probably the worst taper on TS about actually getting processing and done, and when I do it's usually oldschool discs passed around, but I have grand ideas about putting up comparisons of many of the different setups I've run for this regularly re-occuring gig on-line somewhere for you guys.  Same players (sometimes a substitute drummer), same arrangement and room everytime makes for a great opportunity for comparisions between setups.

I did plugged DR680 outs into my surround receiver when I got home last night and re-lived it.  The three TLs routed directly to left, center and right speakers, and the room facing 4060s routed to surround left/right.  Soundy!
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Jimna

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Re: on-stage taping
« Reply #36 on: August 24, 2012, 01:28:32 PM »
 :clapping: :clapping: :clapping:  soundy is as soundy does.
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Offline cybergaloot

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Re: on-stage taping
« Reply #37 on: August 24, 2012, 02:36:05 PM »
Interesting setup. How are TLs attached to the stand legs?
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Offline Gutbucket

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Re: on-stage taping
« Reply #38 on: August 24, 2012, 03:27:51 PM »
That folding lightstand base ships with the end of one leg drilled and taped to accept a mount for a floor light.   I drilled and taped the other two legs similarly so I could use them for these kinds of low-profile on-stage configs.  It allows spacing of up to a maximum of about 2' with the TL shocks baskets extending another few inches each way.  To use them I screw a short treaded stud into the tapped hole and secure it with a nut, then attach the mic mount to that.  I've previously used just the one in front by itself or the two on either side, but this was the first time I've used all three at the same time.

To keep the XLRs from contacting the floor, I use right angle connectors and have strung my TL supermount shocks with old, stretched out elastics on top and new tight ones on the bottom so the mics are shifted upwards in the mounts more so than normal.  The shockmount on the left with the thin black elastics is Xpanding Man's, strung normally, and that mic was set at an angle partly to get a bit more clearance between the XLR connector and the floor.  The simplest way of getting more clearance above the floor is to use a longer threaded stud or to connect a few together to get more height.  I did that last month to attach a stereo LD to the front leg.  It needed more clearance for the straight XLR terminated multi-conductor mic cable required for that mic, so I just connected three of the studs together with nuts.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline rocksuitcase

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Re: on-stage taping
« Reply #39 on: August 24, 2012, 06:59:57 PM »
Beautiful set-up gutbucket! Go Go Go! thanks for the pictures.
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Offline spyder9

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Re: on-stage taping
« Reply #40 on: August 25, 2012, 07:20:23 PM »
I just put up my recording.  That's my 460 > littlebox > M10 setup in the picture.

http://archive.org/details/blrt2012-08-23.spyder9.flac16

Offline deadheadcorey

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Re: on-stage taping
« Reply #41 on: August 26, 2012, 01:54:40 AM »
onstage and i cant split them dfc nos 110*  >:D
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Offline Gutbucket

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Re: on-stage taping
« Reply #42 on: January 25, 2013, 01:39:06 PM »
Below is a photo of the latest incarnation of the on-stage setup I've posted about previously from the gig last night, same room, same band, same tapers.  As before, Spyder’s rig is the taller stand to the right, centered on the drum kit (mics are out of frame).  My setup consists of the 3 ADK TLs at stage level + Gefell cardioids clamped the the underside of the lip facing out into the room.  The 3 ADKs are in hypercardioid mode like before, but spaced and angled closer to one of Michael William's MMAD (Multichannel Microphone Array Design configurations, an extension of the 2-channel Stereo Zoom stuff).  The MMAD setups are designed to achieve 'critical-linking' between each recording segment for smooth imaging all the way around.  Actually this is a bastardized version of one of his suggested arrays, but the position and angles of the 3 ADKs are pretty close.  The Left and Right mics are oriented sideways to get the spacing and angles between all three closer to what it is supposed to be. 

The cardioids take the place of the 4060 omnis I previously taped to the wall under the stage lip.  Their angle, pattern and position under the lip help exclude the direct stage sound from them.  Substituting those lets me approximate and experiment with the full 5 channel Williams arrays and should provide a more defined left/right imaging across the surrounds with the audience reaction.  In the arrangement shown here they don't really achieve 'critical-linking' between Left and Left Surround (Ls) and Right and Right Surround (Rs), but should across the segment between Ls and Rs.  I did this last time with the cardioids in more of an ORTF arrangement facing out into the room, so I’m interested in hearing the difference in having them positioned wider with less angle between them.

Music played last night was the compositions of Horace Silver.

(Note to John- Bobby played the black Les Paul without the Leslie as he's done before, but this was the first time I've ever seen him play without the Echoplex)

« Last Edit: January 25, 2013, 02:01:46 PM by Gutbucket »
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<<

Offline Myco

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Re: on-stage taping
« Reply #43 on: January 25, 2013, 01:47:36 PM »
Below is a photo of the latest incarnation of the on-stage setup I've posted about previously from the gig last night, same room, same band, same tapers.  As before, Spyder’s rig is the taller stand to the right, centered on the drum kit (mics are out of frame).  My setup consists of the 3 ADK TLs at stage level + Gefell cardioids clamped the the underside of the lip facing out into the room.  The 3 ADKs are in hypercardioid mode like before, but spaced and angled closer to one of Michael William's MMAD (Multichannel Microphone Array Design configurations, an extension of the 2-channel Stereo Zoom stuff.  The MMAD setups are designed to achieve 'critical-linking' between each recording segment for smooth imaging all the way around.  Actually this is a bastardized version of one of his suggested arrays, but the position and angles of the 3 ADKs are pretty close.  The Left and Right mics are oriented sideways to get the spacing and angles between all three closer to what it is supposed to be. 

The cardioids take the place of the 4060 omnis I previously taped to the wall under the stage lip.  Their angle, pattern and position under the lip help exclude the direct stage sound from them.  Substituting those lets me approximate and experiment with the full 5 channel Williams arrays and does provide a more defined left/right imaging across the surrounds with the audience reaction.  In the arrangement shown here they don't really achieve 'critical-linking' between Left and Left Surround (Ls) and Right and Right Surround (Rs), but should across the segment between Ls and Rs.  I did this last time with the cardioids in more of an ORTF arrangement facing out into the room, so I’m interested in hearing the difference in having them positioned wider with less angle between them.

Music played last night was the compositions of Horace Silver.

(Note to John- Bobby played the black Les Paul without the Leslie as he's done before, but this was the first time I've ever seen him play without the Echoplex)



DAY-YAM! Nice setup!~
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Offline chinariderstl

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Re: on-stage taping
« Reply #44 on: January 25, 2013, 02:08:21 PM »
Marking thread. Nice work guys.  :)
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