Originally Posted by joaquin
Ben, I'm listening to the Brahms piece and sound simply amazing!!
So I guess you use the converters in the Yamaha console...what sample rate and resolution?
24 bit, 44.1KHz. Yamaha O3D (original- not the new line of Yamaha mixers).
The ather question is: usually after you mic everybody in a live to 2 Traks situation, like in the movie score, I guess you balance the internal sections and create stems to stereo buses, wich you record a couple times and listen back with the conductor?
Tho the Movie score definetely sounds like one... the internal balance and the distribution of space in the orchestra denotes a bit more Human intervention
what ever that means.
Thanks for sharing....Joaquin.
No, actually the client just trusts me to deliver a product that they'll be happy with. I've done enough of these things that I can ask a couple important questions of sound before the gig and get an idea of what is expected. I've also spent many, many years sitting inside orchestras as a performer so I have a pretty good idea of what it is like inside it. In the end, I've found that as long as the recording sounds pretty good, most conductors are pretty open about how you arrive at the sound and exactly what gets delivered. It is amazing how "low tech" parts of the chain can be and still get a good sound. Put the technology/sound where it matters most (ie microphones and getting them in the right place) and much of the rest of the gig pretty much falls into place.
a question that i asked my self many times is how they pan stereo spot mics,
I was in a session and there were stereo spot mics on the percussion section and the woodwing they were obvously offaxis with the main stereo pair.
When I record a classical orchestra, I set up my microphones to reflect a natural position in the orchestra. Except for in very rare cases, all of my mics are summed Left, Center and Right. There really isn't much else. I find that especially the mono compatability really suffers when they aren't panned that way. There are just too many variables to screw up a recording otherwise. For example, a blumlein pair at 90 degrees may create a great stereo image, but when combined with flanking mics, the image becomes too wide and diffuse. In that case, I may narrow that center pair to as little as 75 degrees. The result is a firming of the center. For choirs with the orchestra, I'll either pan L-R or L-C-R if there are three mics (see my thread from a gig I did last summer: http://gearslutz.com/board/showthread.php3?t=17725
) The woodwinds are panned center. Harps are off to the left when used, etc... This way you get a great firm sound of the orchestra that will sum perfectly to mono.
With a score, things are a bit different because of the number of mics involved. However, many of the principles are the same. The strings are either L, R, or C. Woodwinds are generally center, but may be spread out a touch and so forth... The aforementioned film score example is recorded that way.