One thing that this thread highlights above everything to do with microphone choices, is the correct location for the recording. As you've discovered, the wrong location is simply a world of pain and there's very little you can do to make things work after the event. This is why, in the UK at least, classical recording engineers have a small set of locations which they know work well and these are the ones that you'll see being used again and again. Having watched Tony Faulkner set up for a string sextet recording for Hyperion at St George's, Brandon Hill in Bristol, I realised that most of the work was done positioning the musicians and the microphones for the perfect balance and then leaving it alone to let the players and the acoustics combine to make a beautiful sound. What Tony did and continues to do, is capture that sound perfectly and with the minimum of fuss.
Last edited by johnsound; 26th August 2012 at 02:51 PM..
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