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| | #1 |
| Gear interested Join Date: Oct 2005 Location: Chi-City
Posts: 18
| I need some advise since this is my first live jazz band recording. I normally do studio based rock recording and mixing so this is a little out of my element. The venue or bar is really small. The band doesn't use a PA at all. I'm hoping to set them up in a half circle but I have to keep them in the corner of the room. I'll be using (2) Digimax and (1) Mini-me for pres fed into an M-Audio light bridge running PT M-Powered. The band is made up of a 6 piece drum set, an upright bass with pickup and amp, a Keyboard with amp, a tenor Sax and a trumpet. These are the microphones I have available to use. (1) TLM 103 (1) AKG C414B-TLII (1) Cascade M20u (2) Cascade Fat Head (2) Cascade M39 (3) Nakamichi CM300 w/ Omni & Cardioid (1) Octava MC012 (2) PVM 480 super-cardioids (1) PVR1 omni condenser (1) Beta 52A (3) e604 (4) SM58 (2) SM57 (1) SM48 I'm mainly looking for advice on which microphones you would use for the trumpet, sax, and room. I'm also open to any other advice you may want to throw my way. |
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| | #2 | |
| Gear addict | Quote:
Get a DI for the fake piano. Do not use a DI on the bass. A super cardioid on a boom with the just below the f-hole on the g-string side of the bass will do. (Unless the bass player is a pussy. If so, you can "cheat" by blending in a little DI. Try to avoid it, it sounds wrong for acoustic bass.) You can also try wrapping a SDC in a rag and fitting it into the bass bridge pointing up. Drums; 1 mic oh (AKG 414), 1 mic for the snare/hh (sdc) and if you need it, 1 for the bass drum. Saxophone; tlm-103 trumpet, Cascade ribbon If you want to talk further, give me a shout during the day. -Andy 914-663-8323
__________________ www.andyfarber.com | |
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| | #3 | |
| Gear interested Join Date: Oct 2005 Location: Chi-City
Posts: 18
| Quote:
One question, why only one mic for an over head? Is is typical in Jazz not to use a stereo overhead? | |
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| | #4 | |
| Gear addict | Quote:
example: piano-left, bass-middle, drums-right, saxophone-left, trumpet-right. or experiment when you mix. Use the leakage to your advantage, but be careful not to get into any weird phase issues.
__________________ www.andyfarber.com | |
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| | #5 | |
| Gear nut | Quote:
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| | #6 | |
| Gear addict | Quote:
Anyway, the technique I described was standard for classic jazz recordings. Check out stereo LPs from Columbia, Mercury, Blue Note, Prestige, Verve, Impulse, Riverside, Jazzland, Pacific Jazz, Contemporary etc...
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| | #7 |
| Gear Head Join Date: Jun 2007
Posts: 33
| jazz recording If you use a 414 as an overhead, I recommend setting it to subcardioid. |
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| | #8 | |
| Gear interested Join Date: Oct 2005 Location: Chi-City
Posts: 18
| Quote:
I also think I'm going keep it minimal, love the old Blue Note albums! ![]() | |
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| | #9 |
| Super Moderator Join Date: Aug 2002 Location: NYC
Posts: 4,905
| I would point it straight down as hight up as possibile. Play with the height as the band is playing and the drummer is hitting the skins. See what works best.
__________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network Remoteness on Myspace |
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| | #10 | |
| Gear addict | Quote:
If you want to see how Rudy Van Gelder did it back in the '60s, check out these photos. http://www.ctijazz.com/photogallery/...taylortate.php http://www.ctijazz.com/photogallery/...gestaylor1.php
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| | #11 | |
| Gear Head Join Date: May 2006
Posts: 40
| Quote:
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| | #12 | |
| Super Moderator Join Date: Aug 2002 Location: NYC
Posts: 4,905
| Quote:
Yes, a subcardioid is like a cross between an omni and a cardiod. A supercardioid is most sensitive right up front while rejecting sounds at the rear. A hypercardioid is most sensitive at the front and sides while rejecting sounds at the rear.
__________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network Remoteness on Myspace | |
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| | #13 |
| Lives for gear Join Date: Apr 2005 Location: New York Friggin' City
Posts: 2,294
| SUBcardioid! If we need any help explaining subcardioid further, perhaps this will help: http://www.soundpure.com/showProduct.do?id=590 A picture of the polar pattern.... "wide cardioid" Just in case you want a reference to subcardioid, this Schoeps capsule is an excellent example of a subcardioid. Exhibits little bass proximity effect, shares frequency response to the omni with more rejection from 90-270 degrees off axis. The advice you have been given by Andy and others is SPOT ON, so I'll go back to shutting up. JvB |
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| | #14 | |
| Gear interested Join Date: Oct 2005 Location: Chi-City
Posts: 18
| Quote:
I had the gig on Saturday and it went really well! We had enough channels and mics to try multiple techniques on all instruments. This will be great in post since they played a wide variety of "jazz". Mic'ing the bass at the f hole was spot on, the DI tone was really wrong. The C414 mono overhead sounds great for Miles Davis tracks, but I might switch it to the x/y SDC OH for the Herbie Hancock funk track. I love options! Cheers and thanks for the great advise. | |
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