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Old 21st May 2017
  #1441
Monitors on location

I love it when the venue has space to set up monitors. Mixing live to stereo is so much better on speakers than just on cans.

These little NHT Super Zeros (long discontinued - I have 2 pairs) have nothing below 200Hz, but above that they're quite linear and engaging. Also, they're light-weight and fit in a small rolling-case with their amps (Flying Mole DAD-M100 class-D mono amps) and only add a few seconds to my set-up time.
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Old 22nd May 2017
  #1442
Gear Addict
 

What recorder is capturing and what mics are you using.
Old 22nd May 2017
  #1443
Quote:
Originally Posted by sd270 View Post
What recorder is capturing and what mics are you using.
Sennheiser MKH30s in mid-side into a Cooper mixer that's feeding a Nagra Seven (Sound Devices 744t as safety). I also had a pair of DPA4060s taped to the backrest of the 1st pew as flanks. I multi-tracked those to channels 3&4 of the 744s. If the musicians ask for more clarity from the theorbo or 1st violin (etc.) in post, I can add those later. I didn't feel as though they were needed in the 2-mix, however.
Old 22nd May 2017
  #1444
Gear Addict
 

Thanks nice setup that you have there. Ever since I got a pair of MKH30's doing all the location live concerts with them and my Nagra Seven. Usually solo piano or duo to quintets but I'm using Blumlein with the mics horizontal on a 2 ft stereo bar. All fits neatly in a small bag plus stand, easy on the back.
Old 30th May 2017
  #1445
Lives for gear
 
the1Hub's Avatar
 

Love this hall variable acoustics, good players. Simple setup today. Spiden sf12 audio upgrades pre korg mr2000.
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Old 3rd June 2017
  #1446
Gear Head
 

Sometimes its not all about the nice beautiful wooden halls, and people that play music in ball gowns and tuxedos.
Sometimes you get to set up on top of old broken down cars, in between an apartment building and the side of a house, in south-central LA. This one came complete with two inbound traffic lanes for LAX, with the jet planes only 500' or so high above us, and with their brakes on full back pedal; one lane for my right channel, and one for my left.
There was a game of pickup basketball going on as well, and socializing.

This was a Nyabinghi gathering of the rastafarian faithful in the yard of the co-creator/teacher of reggae music, Ras Michael, in s.central L.A.
Six hours of music rolled,.... the sun had already gone down, but still a nice ambient light. It was then that Ras Michael put down his nyabinghi bass, and picked up an acoustic guitar, and laid down the most natural organic piece of reggae music that I've ever heard (and I've been around a huge anount of it). That 20 minute song made the entire day in the sun wrth every ounce of effort (not to mention being amongst friends).

That Nyabinghi bass drum.... that is the drum that gave reggae its One Drop rhythm. That drum is of extreme importance to a whole genre of music.

Yeah, sometimes its about catching the base roots of the music being laid down by one of its master creators, in raw form, complete with all the bumps and bruises that can be delivered in this harsh environment.

Rig for this one (from way back when)... DPA 4022 factory matched stereo pair as DIN/ORTF something or other (a long time ago), in DeadRat screens -> Grace Lunatec V3 ADC -> Sony PCM-M1 DAT as bit bucket to V3
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Old 3rd June 2017
  #1447
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monkeyxx's Avatar
Old 3rd June 2017
  #1448
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celticrogues's Avatar
 

Old 3rd June 2017
  #1449
Gear Head
 

thanks guys!

OK,... same artist, same venue. Also from quite a long while ago.
This is the rehearsal hall, and, a recognized culturally significant place as a temple of worship of the Rasta faith; recognized by the L.A. City Council.
It was a chicken coop, turned into a barn/shed/garage, over time, and is now the rehearsal space for RM and the Sons of Negus.
This is a day of recording a rehearsal prior to a concert.

The first pic is the entrance to the rehearsal space.
The second pic is Ras Michael, and where he sang from. His mic was plugged into a guitar amp and onboard speaker, below a pile of cardboard boxes, at the end of a couch.
In the third pic, you can see the band, and my mic array clamped to the center support beam for the structure. They are a pair of ADK A51TL's as a spaced omni pair. One is by the light; the other is to its right by about 4', by the black/green/yellow-X flag.
The fourth pic is Ras on the 'binghi bass.
The last two pics are my preamp, and recorders. The preamp: Grace Lunatec V3, running a pair of ADK A51TL's. The recorders are a Sony PCM-M1 DAT as bit bucket to Grace V3 stream. And ->>>> my last cassette master, via a SOny TC-D5M portable stereo deck, run for Ras, as a leave behind copy, as he only had a boombox dual cassette deck for playback.

From a whole day of recording, the most memorable for me, I grabbed a wonderful 15minute free jazz jam, with island flavor. This one was wonderful.
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Last edited by Moke; 3rd June 2017 at 05:25 AM..
Old 3rd June 2017
  #1450
Gear Guru
 
John Willett's Avatar
 

Question

Quote:
Originally Posted by avillalta View Post
Sennheiser MKH30s in mid-side into a Cooper mixer that's feeding a Nagra Seven (Sound Devices 744t as safety). I also had a pair of DPA4060s taped to the backrest of the 1st pew as flanks. I multi-tracked those to channels 3&4 of the 744s. If the musicians ask for more clarity from the theorbo or 1st violin (etc.) in post, I can add those later. I didn't feel as though they were needed in the 2-mix, however.
The mic. rig seems a bit odd ???

Why is the top one (assuming two MKH 30) pushed forwards?

I would assume (cannot see from the photo) that the lower mic. would be the mid and the top one the side - in which case there is no need to pust the top one forward.

If the top is the mid - I can understand why you would push it forwards, but you would then get some shading from the lower mic. and it would be better the other way round ???

Just querying as it seems odd.
Old 3rd June 2017
  #1451
Quote:
Originally Posted by John Willett View Post
The mic. rig seems a bit odd ???

Why is the top one (assuming two MKH 30) pushed forwards?

I would assume (cannot see from the photo) that the lower mic. would be the mid and the top one the side - in which case there is no need to pust the top one forward.

If the top is the mid - I can understand why you would push it forwards, but you would then get some shading from the lower mic. and it would be better the other way round ???

Just querying as it seems odd.
The top (furthest from the ensemble) is the mid. The front (side) is positioned below the mid mic's capsule to avoid shadowing. The mid mic's body is therefore positioned behind and alongside the null of the side mic.
Old 3rd June 2017
  #1452
Gear Guru
 
John Willett's Avatar
 

Question

Quote:
Originally Posted by avillalta View Post
The top (furthest from the ensemble) is the mid. The front (side) is positioned below the mid mic's capsule to avoid shadowing. The mid mic's body is therefore positioned behind and alongside the null of the side mic.
OK - but why this way?

I would have had the mid as the lower mic. so there would be no shadowing at all and the two capsules would then be in closer alignment.

Just curious.
Old 3rd June 2017
  #1453
Quote:
Originally Posted by John Willett View Post
OK - but why this way?

I would have had the mid as the lower mic. so there would be no shadowing at all and the two capsules would then be in closer alignment.

Just curious.
Because if you place the mid mic in front of the side mic, it's rear lobe will be directly shadowed by the body of the side mic. If you place them side by side, one half of it side mic's lobe will be directly shadowed. In my configuration, there's no direct shadowing at all.

That said, I think I still prefer the end-to-end configuration.

Last edited by avillalta; 3rd June 2017 at 04:18 PM..
Old 3rd June 2017
  #1454
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John Willett's Avatar
 

Smile

Quote:
Originally Posted by avillalta View Post
Because if place the mid mic in front of the side mic, it's rear lobe will be directly shadowed by the body of the side mic. If you place them side by side, one half of it side mic's lobe will be directly shadowed. In my configuration, there's no direct shadowing at all.

That said, I think I still prefer the end-to-end configuration.
Understood - though I still think I would have had the mid as the lower mic. as there would be no shadowing at all - if it's above there will be a slight shadowing by the lower mic. as it still impedes into part of the front lobe. The other way round this slight shadowing is only on the rear lobe.

But I *do* agree with you about preferring end-to-end,it's just more awkward to rig.

Thanks for the explanation.
Old 4th June 2017
  #1455
Gear Addict
 

I agree with John W about the mic setup avillalta.

If you're doing M/S there is no issue with the rear lobe of the mid being in shadow. Ideally the capsules should be a close to each other as possible, not shifted out of position like they are. In fact, as they are, the capsules are possibly too far apart and may cause sonic 'issues'
Old 4th June 2017
  #1456
Quote:
Originally Posted by JackHenry View Post
I agree with John W about the mic setup avillalta.

If you're doing M/S there is no issue with the rear lobe of the mid being in shadow. Ideally the capsules should be a close to each other as possible, not shifted out of position like they are. In fact, as they are, the capsules are possibly too far apart and may cause sonic 'issues'
I recommend you experiment as well.
Old 4th June 2017
  #1457
Gear Head
 

Yarlung Records USC Cammilleri Hall session recorded in stereo by Bob Attiyeh, stereo Sonorus Holographic Imaging by Arian Jansen (both pictured), and 5.0 surround by me in early April this year. Performing are one of the three groups recorded with the microphone setup used for all three sessions. The Yuko Mabuchi Trio (piano, bass and percussion) also performed in concert one day of the three day session, from which the release tracks will originate.

Tom
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Old 5th June 2017
  #1458
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jimjazzdad's Avatar
Quote:
Originally Posted by avillalta View Post
I recommend you experiment as well.
I wish I had a pair of MKH30 to experiment with...
I am intrigued by the differing approaches to the MS rig. Since I have only LDC mics available for MS at present, I naturally use the 'over-under' approach to get the diaphragms as close as possible to coincident. However, I think Roger's (Rolo 46's) side-by-side MKH30s sounds wonderful; he claims (and I believe him) that shadowing of the S mic is not an issue. Both capsules are perfectly time-aligned with regard to the 'centre stage' position. Anyway, experimentation is always going to yield learnings and, hopefully, better results. I look forward to hearing some clips of your session. Cheers!
Old 5th June 2017
  #1459
Gear Addict
 

Quote:
Originally Posted by avillalta View Post
I recommend you experiment as well.
I very much doubt I need to.
Old 7th June 2017
  #1460
After months of borrowing Zoom's, Blackbox recorders or whatever else I could get my hands on I bit the bullet and bought a Sound Devices setup yesterday. A 744 would probably have been adequate, but why do things in half measures?
I spent a bit of time with it last night recording some acoustic guitar using a Royer SF-12 and a pair of AKG C451s. This thing sounds pretty ace indeed!
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Old 9th June 2017
  #1461
Gear Head
 

Left image:
Earthworks QTC1 as spaced omni pair. L/R flanks
Royer SF12 dynamic stereo ribbon, as M/S, on center
DPA 4028 sub-cardioid compact stereo pair as wide-DIN stereo, spread across center.

Center image:
Now you see 'em.
DPA 4028 sub-cardioid stereo pair. 2nd row center

Right image:
Now you don't.
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Old 19th June 2017
  #1462
Gear Head
 

yesterday..
Yep, thats a 151 member orchestra (official count)

Stereo Rigs (x3):
1) Sennheiser MKE2002 Artifical Head Binaural Stereo Kit, per Senn binaural protocol.
Mic and its "chest/torso" box placed on top of the theater projectors, on the light rail side of the balcony wall (w/ hall permission).

2) Line Audio CM3 pair as narrow-focus NOS (30cm @ 70ยบ)
3) not seen in mages..
DPA 4060 omni pair as Boundary Layer Effect, 6' spread, with mics taped tight to the balcony face wall, light rail side of wall; w/ DPA MMA6000 mic preamp.

I had a long haul to get to the theater, in hilly terrain. I opted to bring my 9' light stand, which is also my lightest stand. I left my daily drivers in the truck, due to being heavy steel.
I loaded a collapsable hand truck and started hoofing it.
In the theater, I was treated to the "owners seats, at first row center, balcony.
I used the hand truck as my stanchion base, and clamped to a part of the hand truck, to extend my CM3 pair in front of the projectors. I had my cables and crap kit bag, and a hefty sandbag on the base of the handtruck as counterweight.
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Old 20th June 2017
  #1463
Gear Head
 
bobkeiser@ieee.o's Avatar
Thumbs up

Quote:
Originally Posted by Moke View Post
yesterday..
Yep, thats a 151 member orchestra (official count)

Stereo Rigs (x3):
1) Sennheiser MKE2002 Artifical Head Binaural Stereo Kit, per Senn binaural protocol.
Mic and its "chest/torso" box placed on top of the theater projectors, on the light rail side of the balcony wall (w/ hall permission).
Sweet. Were you happy with the results? Those pix reminded me of this session from 11 years ago...with a significantly smaller orchestra!

https://www.flickr.com/photos/bobusn...ream/lightbox/
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Old 20th June 2017
  #1464
Gear Head
 

Hi Bob, @bobkeiser@ieee.o

I've just sorted this out, last night, and done some light editing. In critical listening, I'm liking the DPA 4060 Boundary Layer the most. Followed by the CM3 pair.
I tried mixing the 4060 and CM3 pair. It sounds nice, but, maybe not the happiest pairing; it seems that the omni perspective introduces a bit of phasiness. But I've only begun the critical listening phase.
Its always too soon to critically comment on a recording, and I'm plenty guilty of wrong assessments made too early.

Last edited by Moke; 20th June 2017 at 04:09 PM..
Old 20th June 2017
  #1465
Gear Head
 

From final rehearsal for this same show. This was in a high school auditorium, the day before the concert.
This was my meet and greet with the orchestra, and, conductor. So I went in with my main rig, and the dummy head. I set up a ways out with the rigs, and just fake recorded with the main rig, for the three hour rehearsal; but, I did run some samples with the binaural head -> Roland R09HR, as a quick sampler.
I immediately recognized the curiosities, the pointing, the snickers; if you've run binaural, you understand where this is going.
So, on the first break, out shot a messenger, intelligence gathering courier, who asked the inevitable,... So what does that thing do?
I explained to him to search for Binaural on his cellphone (which he immediately did), and he came up with the Wikipedia link, and, I told him to start there, after my brief explanation of the technique. He was a high shool senior, tech savvy, and was really intrigued with what this was about.
He took gathered intel back to the violin section, where I saw the immediate huddling of five or six players. Then the heads popped back up, and the curiosity continued.
Ultimately, I had the dummy head walked forward from near the back wall, forward to a prominent position. I ran the head at my height (I'm tall) This is when the conductor saw it, and, he asked about it.
Those that have run binaural know that this is a tipping point; either they get it, and are fine with it, or, they take a step back, and opt out.
This time.... He liked the idea, and, was open to me running it up front, or, from wherever.

Rehearsal:
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Last edited by Moke; 21st June 2017 at 05:07 AM..
Old 23rd June 2017
  #1466
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Quote:
Originally Posted by Moke View Post
S
This was a Nyabinghi gathering of the rastafarian faithful in the yard of the co-creator/teacher of reggae music, Ras Michael, in s.central L.A.
Quote:
That Nyabinghi bass drum.... that is the drum that gave reggae its One Drop rhythm. That drum is of extreme importance to a whole genre of music.
You should really check the veracity of the above statements Moke...Here's a clue; Mento music, Count Ossie and the Mystic Revelation of Rastafari, The Skatalites.

By the way, this type of gathering is called a "Groundation", which is a regular (but informal) gathering of the Rastafarian faithful...they are common in Jamaica.
Old 23rd June 2017
  #1467
Gear Head
 

Yes, agreed. Well aware, thanks.
But those bands that you mentioned were never breakout bands that had some name beyond the jamaican island market. I've heard of them/it,.. but I deeply love the music. The average person on the streets might have heard of the Skatalites; far less would have heard of Count Ossie (I have the entire catalog), and, Mento.... how far back are we going to go with island music? Slave music is precursory to the blues in the Delta. Certainly, slave music is precursory to Mento in island music.

I have/had two dear friends involved in the creation of reggae; and both are widely recognized as co-creators (but it is certainly not limited to them). Those gents are Ras Michael and the Sons of Negus (of the country side of the music; One Drop), and the late Joe Higgs (of the city, Ska side of the music).
Ras M. is still with us, and I still visit with him quite regularly, and record his local events when he plays (getting to be far fewer of those).
The other gent, Joe Higgs, and I, were good friends from the mid-80's, 'til his passing in '99. Joe and I spent quite a considerable amount of time together. He allowed me freedoms that many never know in reggae, that of meeting the greats, and being able to record their music. I've documented lots of greats, in both music and spoken word interviews with a fig-8 mic between us, many of which are no longer with us.
Old 24th June 2017
  #1468
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Quote:
Originally Posted by Moke View Post
Yes, agreed. Well aware, thanks.
But those bands that you mentioned were never breakout bands that had some name beyond the jamaican island market. I've heard of them/it,.. but I deeply love the music. The average person on the streets might have heard of the Skatalites; far less would have heard of Count Ossie (I have the entire catalog), and, Mento.... how far back are we going to go with island music? Slave music is precursory to the blues in the Delta. Certainly, slave music is precursory to Mento in island music.
The Skatalites are the recognized creators of Ska, Rocksteady and Reggae, Lloyd Knibbs (the drummer) is the undisputed creator of the one drop style of drumming. Count Ossie's seminal three discs album "Groundation" is the first Nyabinghi album ever and is considered an important recording in Jamaica's recording history and I'm sure a motivation for Ras Michael too. It is the influence they had and still have on reggae that is important, not how famous they were/are outside of Jamaica.

Mento (as a musical style) probably had the the most influence on the creation of reggae because almost all the early reggae musicians played mento. Reggae's deep bass-lines, syncopated rhythms, accent on the back beat and some of it's early lyrics all came directly from mento...many of the early rocksteady and reggae songs and rhythms were originally mento songs. We don't have to go further, the influence and connection is direct.

Quote:
I have/had two dear friends involved in the creation of reggae; and both are widely recognized as co-creators (but it is certainly not limited to them). Those gents are Ras Michael and the Sons of Negus (of the country side of the music; One Drop), and the late Joe Higgs (of the city, Ska side of the music).
I have worked with and know/knew both of these for many years...both of them (especially Joe Higgs) have been influential in the development of reggae music. Joe mentored the Wailers during their early years as reggae musicians and was single handily responsible for their vocal sound. Neither of these men are considered co-creators of reggae, and neither of them had anything to do with creating the one-drop.
Old 24th June 2017
  #1469
Gear Head
 

I'm going to concede, because I don't argue on the internet of arguments and things.
I'll have to rely on what the two masters, those friends of mine, told me.

Where have your travels taken you?
Old 24th June 2017
  #1470
Lives for gear
 

Quote:
Originally Posted by Moke View Post
I'm going to concede, because I don't argue on the internet of arguments and things.
I'll have to rely on what the two masters, those friends of mine, told me.
No disrespect was/is intended and I didn't consider this an argument...it's a discussion. Unfortunately, most times when I read or hear historical anecdotes about Jamaican popular culture...who did what when and where, it's usually being told by people who were not there, so it's second or even third hand info being passed on and things sometimes get lost in translation. I always think it's important to set the record straight.

Quote:
Where have your travels taken you?
To a lot of different places, and I've been lucky enough to meet and work with some very special people along the way.

Anyway, this is way off topic and I don't want to derail the thread anymore.
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