Quote:
Originally Posted by willi1203  hi
I'm going to record a very famous chamber orchestra + choir in a huge cathedral. I mainly recorded since yet chamber music, so I'm a bit confused...
I read many posts about micing technique for oratorios... with 8 inputs = 1 ortf, 1 spaced omni pair, 2 voice solos, 1 bass, 1 continuo... Do you use omni flanks as well in big reverberant spaces ?? What the distance between the 2 omnis ?
I own : 1 pair cardio (cmc5 mk4) schoeps ; 1 pair subcardio (cmc6 mk21) schoeps ; 1 pair omni (cmc6 mk2s) schoeps ; 1 pair oktava 319 (cardio)modified ; I can rent a pair of neumann km 84 cardio.. I use pretty good pre (forssell 2 ch ; dav bg1 2 ch ; audient asp 008) and mytek converters. I record on pro tools (adat in+ spdif in) + backup on fostex d90 (adat in too ; i have a adat "splitter").
What would you do with that stuff ? I can record 10 ch.(8 very important+2 "extras") in the mac and 8 very important in the fostex.
thank you very much
william |
Just a couple of quick thoughts. I would try and give yourself as many post production options as possible. As a more general observation, reverberation is a relative thing, I've been in very reverberant spaces where the recorded sound is quite dry. What I mean by that is that reverberation is relative to the size of the venue, i.e. a very large reverberant building can sound quite dry on the mic's (depending of course on positioning), where as a small venue with what sounds like relatively little ambience can prove overly reverberant. Couple to this the factors of the work being recorded, the size of the ensemble, etc these all factor different things into the equation. One thing to bear in mind is not too "fight" the space. Often a recording with a slightly larger "ambience" that realistically reflects the performance enviroment will be a better compromise than a so so atempt at unrealistic control. IMHO this is where the experienced sound engineer earns his fee.
Regards
Roland