Taperssection.com
Gear / Technical Help => Ask The Tapers => Topic started by: John Kary on February 13, 2008, 11:38:25 PM
-
A potential client contacted us wanting a live video/audio recording of a classical concert/orchestra. Problem being, we haven't done classical before, so I'm a bit unsure on how to go about recording the audio. I assume it will be done in an amplified environment with ceiling mics.
What type of mic setup should I go for? I normally do rock shows where I can pull a sbd feed and an audience source and mix them in post. Is this what I should go for?
What mics should I try to use? What type/brand? I would be up for renting someone's gear, too, since this is a paid gig. Just PM me with prices and such.
Thanks everyone!
-
I assume it will be done in an amplified environment with ceiling mics.
I would assume just the opposite. Classical/orchestral is rarely amplified in my experience.
Gear needs depend entirely on the performance, but I would use a minimum of a pair of neutral high end condensers (Schoeps, DPA, etc) and a relatively high end preamp (Millenia, Grace, etc.). Depending on the client's needs you may be required to do multiple mics as well.
Good luck!
-
Leave plenty of headroom when starting your recording, there can be huge differences in dynamics in a given piece. I would estimate hitting -15-12 dB for the moderate level passages, ??? does that sound right to you guys?
-
I assume it will be done in an amplified environment with ceiling mics.
I would assume just the opposite. Classical/orchestral is rarely amplified in my experience.
Gear needs depend entirely on the performance, but I would use a minimum of a pair of neutral high end condensers (Schoeps, DPA, etc) and a relatively high end preamp (Millenia, Grace, etc.). Depending on the client's needs you may be required to do multiple mics as well.
Good luck!
Agree 100%. You could run either a stereo pair of directional microphones in the center, or spaced omnis for a minimalist approach, or combine the two for the next step up. I would think as the next level after that one would move to adding spot mics for the orchestra.
-
I have only four mics so I would be obliged to look at a pair of omnis or cards in the sweet spot with the angles and distances as outlined by Williams in Stereo Zoom. Or, a pair of cards in the sweet spot, or as close as I can get, angle and spacing as described by Williams, and a pair of flanking omnis. John Eargle likes this setup. Multi-mic'ing can introduce as many problems as it solves, though. Less is more.