Moving up slowly -Classical Performance on D888

Conchious · 22nd April 2011

Right now I'm recording on a Korg D888 (16 bit 44.1 it's only option) - it's capability of 8 track simultaneous recording is why I chose it at the time. Usually I'm recording classical music containing up to 30 pieces of mixed instrumentation all the way down to solo recitals. An occasional operatic show, and the worst case for me Jazz with amps. The musicians are usually of very high caliber, NY orchestra members, or they at least have a great sounding resume.

There is a permanent install of 2 pairs AKG C1000s (fronts and backs) set up in the buttresses of an old hard walled church (mostly doing choirs at the time) but I have been adding floor mics with the directors okay. The space has great ambiance but very creaky pews and street noise.

Other mics used are Sontronics Apollo stereo ribbon, AT pairs of cards 4041, or omnis 4022, and one Blue Dragonfly. They each have their pros and cons but together can form an honest pallet if there's time to place them and tweak positioning.

I've learned not to use the pres on the Korg and have gone from M-Audio, ART and now an RME Quad.

I am wondering what the next logical step up should be first where I'll hear a definite difference, mics or recorder or pres?
Is it worth saving for something like a pair of EW QTC30 or will I notice more of a difference right away spending $1.2K less and going to a Tascam with 24 bit at 48kHz?
Can't afford a large step into a macbook with outboard interface (don't want to drag my G5 into this, though I use it with DP7 for post).

When I first started doing this I used an old 1202 with the high end Sony MD (1ru) and then later an Mbox into laptop with XP/PT - But only 2 tracks got me married to headphone mixing, not always a good way to go, though it seems I was happy enough, back then.

cdog · 22nd April 2011

Sounds like a challenging environment.

I think the most important questions are, who are you recording this for, and what is your budget?

It doesnt make much sense to spend a lot of $ just so that the truck passing by outside is picked up more cleanly on the one and only take for the day.

If you have hard limitations like substantial ambient noise and mic placement restrictions, it might be better to not get obsessed with absolute sound quality and just approach it as documenting the performance with the tools you have as best you can.

If you remove these limitations, the weakest link in your recording chain is easily the D888.

Conchious · 23rd April 2011

traffic sounds can be limited - a bus can hum through a pp portion in stereo fidelity but it's much better when I can get closer and still effectively throw some room into the mix.

Certainly it's my call whether to treat it like snapshots, however some of the listeners are from the talent world and there have been broadcasts on NY radio (they tell me) - so thus I am inspired to work, voluntarily. Given the economy and low donations, talk of reimbursing hasn't come up again.

22nd April 2011	#1
Conchious Gear interested Joined: Mar 2011 Posts: 11 Thread Starter	Moving up slowly -Classical Performance on D888 Right now I'm recording on a Korg D888 (16 bit 44.1 it's only option) - it's capability of 8 track simultaneous recording is why I chose it at the time. Usually I'm recording classical music containing up to 30 pieces of mixed instrumentation all the way down to solo recitals. An occasional operatic show, and the worst case for me Jazz with amps. The musicians are usually of very high caliber, NY orchestra members, or they at least have a great sounding resume. There is a permanent install of 2 pairs AKG C1000s (fronts and backs) set up in the buttresses of an old hard walled church (mostly doing choirs at the time) but I have been adding floor mics with the directors okay. The space has great ambiance but very creaky pews and street noise. Other mics used are Sontronics Apollo stereo ribbon, AT pairs of cards 4041, or omnis 4022, and one Blue Dragonfly. They each have their pros and cons but together can form an honest pallet if there's time to place them and tweak positioning. I've learned not to use the pres on the Korg and have gone from M-Audio, ART and now an RME Quad. I am wondering what the next logical step up should be first where I'll hear a definite difference, mics or recorder or pres? Is it worth saving for something like a pair of EW QTC30 or will I notice more of a difference right away spending $1.2K less and going to a Tascam with 24 bit at 48kHz? Can't afford a large step into a macbook with outboard interface (don't want to drag my G5 into this, though I use it with DP7 for post). When I first started doing this I used an old 1202 with the high end Sony MD (1ru) and then later an Mbox into laptop with XP/PT - But only 2 tracks got me married to headphone mixing, not always a good way to go, though it seems I was happy enough, back then.

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22nd April 2011	#2
cdog Lives for gear Joined: Dec 2003 Location: Brooklyn Posts: 3,559 3 Reviews written	Sounds like a challenging environment. I think the most important questions are, who are you recording this for, and what is your budget? It doesnt make much sense to spend a lot of $ just so that the truck passing by outside is picked up more cleanly on the one and only take for the day. If you have hard limitations like substantial ambient noise and mic placement restrictions, it might be better to not get obsessed with absolute sound quality and just approach it as documenting the performance with the tools you have as best you can. If you remove these limitations, the weakest link in your recording chain is easily the D888.

23rd April 2011	#3
Conchious Gear interested Joined: Mar 2011 Posts: 11 Thread Starter	traffic sounds can be limited - a bus can hum through a pp portion in stereo fidelity but it's much better when I can get closer and still effectively throw some room into the mix. Certainly it's my call whether to treat it like snapshots, however some of the listeners are from the talent world and there have been broadcasts on NY radio (they tell me) - so thus I am inspired to work, voluntarily. Given the economy and low donations, talk of reimbursing hasn't come up again.