Quote:
Originally posted by Bob Olhsson
Make the room just as live as you can and have them play with one headphone on and none of themselves in it. Otherwise they'll play too loud to get a great tone or a decent blend.
Playing on both sides of a ribbon facing each other sounds absolutely great. |
Man,
I swear you are a brass player yourself, Bob! Experience has taught me the same things.To further bob's awesome advice, I'd also ask the client if they can tell you any specifics: (what style of music- is there a group leader/section leader, etc) As Dave said, you might want to favour a certain player of either section, but that can be subjective unless you know the parts/players. I personally would try trumpets on the labelled side of the Royer, and bones on the backside, then opposite for the other mic - I tend to like the back side on trumpets: a little more "Coles" sounding than the front side, and bones on the darker side. Also, if that is the chosen route, consider the height of the stand - you don't want players blowing into each other's faces, nor slides bumping the other horns (or your spendy mic - very distracting
) Also, having opposite sides/section can give an alternate flavour to both instruments. 4011's could be used as well if you take the time to sculpt the sound of them with the ribbons. Those mics rarely disappoint, and as spot mics on the leaders, could make a very rich sounding brass section...
Wait - I'm talking about the R-121, not the 122: I haven't heard the 122 yet, so unless it's the exact mic (with higher output) my advice can be taken with a grain of salt. However, I have used many other ribbons on brass, and the Royer is most often my choice.
YMMV,
