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Gig Report: Frank Ticheli's "Blue Shades"
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5th July 2013
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Gig Report: Frank Ticheli's "Blue Shades"

On Sunday (6/23/13) I recorded a Concordia Santa Fe concert in St. Francis Auditorium in Santa Fe, New Mexico, USA. The guest conductor for this concert was Gary Hill (Professor of Music & Director of Bands, Arizona State University).

This recording was done with a 'phased array' consisting of 8 channels: Royer SF24 in Blumlein, Schopes MSTC64g ORTF, Schopes CMC6/Mk21s at ±16" pointed down toward the front row reeds & flutes, and DPA 4006-TLs outriggers at ±24" for hall sound.

The mix is ~80% Royer, 12% DPA, 6% Mk21s and 2% ORTF.

Here is an mp3 clip from the concert featuring the first part of Frank Ticheli's "Blue Shades":
Attached Files
File Type: mp3 Ticheli - Blue Shades.mp3 (6.86 MB, 50 views)
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Why so complex ?
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Did you use multiple stands? What distances, please?

Might you also please explain how you determine the various percentages you mention? Do you start with normalized tracks, and then mix in with various attenuations (for example, start with Royers, and then add other tracks with negative dB gains)?

Particularly interested in the ORTF pair: how quantified and the observable effect.

Thank you.

Regards,

DG
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Please tell us the whole story. With pics/diagrams if you can. Rolo46 is right, this does seem complicated.

Cheers

red and green chili sauce, please
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Whatever the reason of the complex recording method, I did enjoy the music a lot! It has very nice spread and depth and the acoustics seem to match the source material very well. Just a pity it's a bit overly compressed. For MP3's you have some 9Mb available for an upload. Use it!
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6th July 2013
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Quote:
Originally Posted by Rolo 46 View Post
Why so complex ?
You're right ... this is a complex setup. But I have eight channels available and a nice assortment of mics, so I like to capture a variety of tracks and then select whatever sounds best for mix-down.
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Quote:
dgpretzel; Did you use multiple stands? What distances, please?

All the mics were mounted on the same stand. About 8' back and 6' above the conductor. The Schoeps and DPA mics were all mounted on the same bar. The Royer SF24 was about 12" down and 15" forward of the others.

Here's the setup:
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Gig Report: Frank Ticheli's "Blue Shades"-setup.jpg  
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Quote:
Originally Posted by dgpretzel View Post
Might you also please explain how you determine the various percentages you mention? Do you start with normalized tracks, and then mix in with various attenuations (for example, start with Royers, and then add other tracks with negative dB gains)?

Particularly interested in the ORTF pair: how quantified and the observable effect.
The percentages mentioned are just estimates and should not be taken literally. I adjusted ratios in the mix based on how they contributed to the sound.

It might have been better if I had said: The Royers were the best sounding to my ears so I based the mix on them, adding a fair amount of the DPAs (for hall ambiance and to bring out the percussion), a bit of the Schoeps Mk21s (to balance the oboes and clarinets with the rest of the horns), and a very small amount of the Schoeps Mk4 ORTF mics (because this seemed to help localize the flutes and oboes in the overall sound stage).
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