recording Harpsichord

[silkysmell]

Hi guys,
how would one record a Harpsichord if playing togehter with a Orchestra, like in Bachs Brandenburg Concertos?
How loud is it actually? never had the chance to listen to a real Harpsichord. Would you recommend spot micing it? if so, is there a need for stereo micing? what about ribbons, since it has kind of percussive character? any help appreciated!!!

[heinz]

A harpsicord is like a bright lute turned on it's side. It is NOT a loud instrument compared to other instruments in the orchestra. I grew up with one in my house, and when my dad played the Brandenburg they'd put him right up front of the orchestra with the lid wide open. Still struggled to hear him occasionally during the rockin parts, all really just attack and 'plink' 'plink'.

I like the idea of using a ribbon or something to tame the attack, but can't say I've ever recorded one professionally, just played in many orchestras where occasionally we would do that piece.

[fifthcircle]

The volume of the harpsichord in an ensemble setting really depends on the instrument. I've experienced both types- the ones so soft you can barely hear it and the ones that can project across an entire chamber orchestra. If it is being used in a solo situation, I'd hope they'd have a lound, concert instrument, but you never can tell...

Micing will depend on how it is set up on stage- I usually record an orchestra with a 3-point setup- stereo pair in the center with omni flank/wide microphones. You may find that your center microphone picks up the instrument plenty well if the soloist is in front of the orchestra like a traditional soloist. However, if they place the harpsichord inside the orchestra (usually in the center between violas and second violins, sometimes between violas and cellos), you may need to spot mic it.

The rub is this- harpsichord in baroque music is as much as a harmonic/rhythm instrument as it is a soloist. The basso continuo is usually harpsichord, cello and perhaps bass (if it is used). They have chord changes that they realize in performance when they don't have the solo. Brandenburg 5 (if I remember correctly- I can never keep them straight) has a massive harpischord cadenza in it as well as solos with the orchestra and some continuo playing. Your mic setup and mix has to reflect the subtleties of these performance aspects.

So back to micing- if the instrument is in front of the orchestra, I'd try not spot micing it. See if your center pair gets a good pickup on the instrument as well as the orchestra. If the instrument is inside the group, I'd try using a stereo pair in the crook of the instrument probably 3-4 away from the strings. Don't pan the instrument the width of the orchestra (I've never seen a 20' instrument ). As for mics, I've had good luck with Microtech M930s, Schoeps, Sennheiser MKH-40s, and Beyer 160s. You want to get a full sound that isn't too accentuated on the high-end. The harpsichord works by quills that pick the string. It can be a very bright instrument so I'd avoid mics that accentuate this (ie a TLM 103).

Beyond that, it is sort of a matter of taste as to the kind of sound that you like and want to go for...

Have fun.

--Ben

[Doug Ring]

You'll have to watch your metering with a harpsichord. Traditional mechanical meters usually under-read quite badly because the ratio of transient attack to note is so high with the instrument. Because they can't respond quickly enough to the transient, such meters give a false reading - usually way lower than it should be. So if you're using a VU or even a PPM, don't record hot: you certainly shouldn't be hitting full scale even with peaks.

Digital metering will be much more accurate, and you'll see from the spiky waveforms how most of the harpsichord's energy is in the attack. But don't be tempted to record it hot so that yousquare off those spikes: you can put the gain back when you mix, and because it's digital you won't lose anything.

[Will Russell]

Hi,

I recently did a recording of the NYS Baroque Ensemble, 14 pieces including harpsichord. I did the whole emsemble with a pair of Earthworks QTC1s and a jecklin disk. It took about 2 1/2 hours to position the mics just right, to achieve the proper balance between the standing violins, sitting basses (cello and viola de gamba) etc. The harpsichord was at the back of the ensemble in the middle and ended up sounding pretty amazing overall.

I certainly would not spot mic if i could help it. let the room and the air do your work and the results will be much more natural sounding, which is you goal with most classical recordings.

Have a blast!