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Gear / Technical Help => Microphones & Setup => Topic started by: skokiebob on August 07, 2006, 07:17:28 AM
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Hello all. I know my answer is in these forums somewhere, but I can't seem to enter the right query to pull it up. My question is, and I know there is no DEFINITIVE answer, how far back from the stage do you get a better recording with the hyper caps. Some details for the particular show would be:
Balcony of Chicago Auditorium- maybe 100-150 ft from stage?
Sound pro cmc- 8's>battery box>sony Hi MD
Tom Waits
stealth
Thanks for your expertise, I've already gleaned alot from these forums!
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I'm not sure, but keep in mind that the Chicago Auditorium is one incredible sounding room. I would use cards in that situation, as the auditorium is one of the best sounding places in the entire country. That said, I would ordinarily go with hypers in that situation with a poorer sounding place.
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I'm not sure, but keep in mind that the Chicago Auditorium is one incredible sounding room. I would use cards in that situation, as the auditorium is one of the best sounding places in the entire country. That said, I would ordinarily go with hypers in that situation with a poorer sounding place.
I disagree with this. The "section" at the auditorium theatre is very boomy and I think that is a perfect spot for hypers. Best bet is to search the archive for sources from the venue and have a listen to deceide for yourself. I have not tpaed there, but have heard a few tapes from there and was dissapointed with the sound on tape. Sweetspot may be ideal for cards, but further back I think you would appreciate the omni's hypers. The volume of the show, and the abilities of the engineer to tune the room will go a long way as to how that room will sound. The Auditorium theatre is a very old room that was acoustically designed to amplify acoustic performances without PA. The room is very "live" sounding. They have done some work since they remodled 5 or 6 years ago, but it is still a very live room.
Matt
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Sweetspot may be ideal for cards, but further back I think you would appreciate the omni's.
Matt
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Matth: Omnis or hypers at 150'? I think you mean hypers.
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Sweetspot may be ideal for cards, but further back I think you would appreciate the omni's.
Matt
Matth: Omnis or hypers at 150'? I think you mean hypers.
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YES!!!! Doo!
I'll also add that I have attended shows there and heard tapes from the shows I was at. I forgot to say that too in my post.
Matt
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I ran hypers from row Z at the Auditorium for Wilco and the recording sounds damn fine. I would suggest if your beyond the first rail to run hypers to cut down the boom in the room.
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If in doubt, I would always run hypers. They will always sound good. I would only run cards when the room is great and when you can get a great position, up close.
Richard
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I agree - hypers when in doubt.
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If in doubt, I would always run hypers. They will always sound good. I would only run cards when the room is great and when you can get a great position, up close.
Richard
what he said.
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If in doubt, I would always run hypers. They will always sound good. I would only run cards when the room is great and when you can get a great position, up close.
Richard
what he said.
definately!
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If in doubt, I would always run hypers. They will always sound good. I would only run cards when the room is great and when you can get a great position, up close.
Richard
what he said.
definately!
I agree, but I suppose it depends on your tastes. IMO, better too little room sound than too much. I recently taped an indoor show from the 5th row with my hypers and I'm glad I did.
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If in doubt, I would always run hypers. They will always sound good. I would only run cards when the room is great and when you can get a great position, up close.
Richard
These are the words of an AKG fluffer!!!!
Matt
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Since I've owned my Hypers, I've run cards less than 10 times in the last 16 months!
HYPERS OWN!!!
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i run my hypers in the SWEET SPOT/FOB/off DFC from the stage, everywhere
i know cards work great as festivals, but after only having hypers a couple of moedowns ago, i think they may be the best tapes ive ever had the pleasure of making, so sont l;isten to the 'general' rules, experiment and see what works best for YOU
483>v3>jb3 ;D
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Ive run my cards over my hypers for a while. I dont think ive used the hypers since 12/05.
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Many thanks to all, great help! On a somewhat related issue,for a moderately quiet show, do you guys set your volume to the crowd noise around you, which is of course much louder than the music itself at times, do you fiddle with it during the show or lean to the low end and leave it alone. :-\THANKS!!
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Pick your levels and leave them or you will go mad and probalby ruin some recordings. Best to fix in post.
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Pick your levels and leave them or you will go mad and probalby ruin some recordings. Best to fix in post.
I completely agree with china_rider. Best to set the levels and forget about them.
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do you guys set your volume to the crowd noise around you, which is of course much louder than the music itself at times, do you fiddle with it during the show or lean to the low end and leave it alone.
When running 24-bit, I most certainly do the latter: keep levels low and adjust in post if desired (compression on applause, normalization, etc.). For 16-bit, safe bet is to do the same, though I've had success (and failures) running levels for the music as well. The risk with running levels for the music is the applause clipping in a nastily audible fashion. I've found if it's just clapping causing the clipping, many 16-bit ADCs will clip gracefully due to the transient nature of the peaks. But if there's hooting and hollering causing clipping, or other loud sources that are not as transient as clapping, the clipping gets ugly sounding fast.
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Is running low at 24 bit -6dB, -10dB, -14dB?
Thanks