Newbie - Archive recording for String Quartet

[cootcraig]

I will be doing archive recording for the upcoming season of the Veronika String Quartet based in Pueblo, Colorado.
Veronika String Quartet
The first program to be presented on Nov. 1,2 includes:
Mozart - Clarinet Quintet in A Major, Statler Quintet
Schubert - Quartettsatz in C Minor
Smetana - String Quartet in E Minor. "From My Life"

Here is some concert footage:
http://chass.colostate-pueblo.edu/ve...Westcliffe.wmv

I'll have a chance to record one rehearsal at one of the 2 halls before concerts.

For the first attempt I plan to set up like this:
Jecklin disk purchased from core-sound
Avenson Audio STO-2 omni mics (My best mics)
E-Mu 0404 USB mic preamps and A/D interface
Vista PC running Audacity.

I've been using this equipment since last June to do about 10 remote recordings of some jazz groups around Pueblo. I've been using a DIY Jecklin disk, but I'm ponying up the money for the commercial disk for it's flexibility and professional looks.

I'll post pictures and hopefully some sound clips as I go. Your advice and encouragement is welcome.


Online forums I watch and post at:
3dB - Powered by vBulletin Classical and Location Recording
RECORDING professional musicians, engineers, pro audio dealers, manufacturers portal Acoustic Music Forum
www.gearslutz.com/board/ Remote Possibilities in Acoustic Music & Location Recording

[David Rick]

Greetings from Northern Colorado,

Did you already purchase the Jecklin disk? For small ensemble work, you might want to consider a Schneider Disk instead -- especially since you already have a homemade Jecklin.

Baffled omni's give you few degrees of freedom for adapting to the hall, so don't forget to use the ones you have: move the stand, forward and back, side to side, and change its height. If you start out at about the room's "critical distance", you will hear pretty dramatic changes. You can also change the aim of mics slightly: angle out instead of parallel, and tilted up instead of aimed right at the ensemble. Because the omni pattern isn't totally uniform, these measures will make slight changes to the sound which may turn out to be better or worse.

David L. Rick
Seventh String Recording

[cootcraig]

I ordered the Jecklin disk yesterday. I expect to try a whole series of DIY baffles as I go.

Help me with the "critical distance" concept. How do I find it? What should I consider in position changes from here?

I'll ask for feedback on possible mic placements as I work with the quartet and visit the venues.

For instance, considering stand placements close to the quartet/quintet, and keeping the disk out of line of sight from the audience to the players heads and shoulders, I can think of 2 choices.

I have an sms boom stand. Place it behind the players and position the disk above audience line of sight.

A short stand between the players and audience, below the audience line of sight.

Any thoughts?

Thanks.

Originally Posted by David Rick

Greetings from Northern Colorado,

Did you already purchase the Jecklin disk? For small ensemble work, you might want to consider a Schneider Disk instead -- especially since you already have a homemade Jecklin.

Baffled omni's give you few degrees of freedom for adapting to the hall, so don't forget to use the ones you have: move the stand, forward and back, side to side, and change its height. If you start out at about the room's "critical distance", you will hear pretty dramatic changes. You can also change the aim of mics slightly: angle out instead of parallel, and tilted up instead of aimed right at the ensemble. Because the omni pattern isn't totally uniform, these measures will make slight changes to the sound which may turn out to be better or worse.

David L. Rick
Seventh String Recording

[cootcraig]

I don't think I've posted this here:

Here's a picture and song recorded of a Pueblo based jazz group, usually a quintet, but 4 players that night.
Of course an amplified PA bar room is different from a classical concert, but I enjoy both.

http://dc17.4shared.com/download/641...080921_002.JPG

9 Mb mp3 file
http://dc17.4shared.com/download/641...ll20080921.mp3

[David Rick]

Originally Posted by cootcraig

Help me with the "critical distance" concept. How do I find it? What should I consider in position changes from here?

Geoff Martin gives a pretty good explanation here.

The reason I recommend starting near the critical distance is that you're going to listen to playback and decide whether the sound is too reverberant or too dry -- then you'll move the mic stand. My experience is that if you start near the critical distance, you won't have to move it too far (usually forward) to get something you like. On the other hand, if you're much farther away than that, you can move the mic stand a lot and it won't make much difference in the sound. You can waste a lot of time in that case. Conversely, if you're too close, the instruments won't blend properly. A microphone closer than 1/3 of the critical distance is basically a spot mic.

This assumes that you're trying to "hit it out of the park" and get a good recording with just a single pair of microphones. It isn't always possible, but trying to do it will make you a much better recordist.

David L. Rick
Seventh String Recording