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!
Quote from: John Kary on February 13, 2008, 11:38:25 PM
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?
Quote from: TNJazz on February 13, 2008, 11:50:45 PM
Quote from: John Kary on February 13, 2008, 11:38:25 PM
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.