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Post pictures of your portable recording equipment
Old 3 weeks ago
  #1501
Lives for gear
 
jimjazzdad's Avatar
Quote:
Originally Posted by Moke View Post
I am sometimes asked to go low profile with an ensemble that I record...I've used it numerous times as a bag on my lap, with both the "onboard" mics and my pair of DPA4060 as HRTF stereo for four channels of low-profile recording...The Set It and Forget It portable rig.
I am reminded of the scene from the film Diva: "C'est un Nagra. C'est Suisse, et très, très précis". But here a Tascam. Maybe only très précis?

Nice rig though. I like the lunch bag re-purposing.
Old 2 weeks ago
  #1502
Gear Addict
 

Quote:
Originally Posted by tailspn View Post
The Budapest Festival Orchestra performing in the Budapest Music Palace (MUPA) session recordings this week of Mahler's Das Lied von der Erde. This three day session was recorded in 24 channel DSD256 by Channel Classics, and separately by myself, in 5 channel DSD256 surround. On the floor lies my Merging Hapi, performing as both an 8 channel stage box, and D/A. This feeding a Ravenna network, and separate 2 channel mixed audio to an offstage generic PC and headphone amplifier respectively.

The surround recording used two DPA 4006A for the surround rears. To use the available eight recording channels the front three mics of the 5 channel array consisted of both three DPA 4041SP and three Saken CO-100K's co-located at the end's of the carbon fiber booms.

It was fantastically performed music, a wonderful experience, and a very satisfying recording.

Tom
Hi Tom, great set-up in a great hall with great music. Nice to hear that both of you nowadays record in dsd256. There is nothing more fluid and transparent.

I am curious to know how you feel about the two mics you mentioned. In what way is the PDA 4041 superior to the 4006a? Is it a totally different sound?

Is the Sanken good for classical orchestra? I know that sound sculptors like the extended frequency range, but I was sceptical about the extreme high frequency lift from 10khz onwards when recording music... What is your feeling here ? Did you mix them with the PDA?

Did you miss the spot mics in your own mix, or do you feel the transparency of these miss compensates it?

Best wishes,

Lucas
Old 2 weeks ago
  #1503
Gear Nut
 

Hi Lucas, thanks for your interest!

The multi-mic Channel Classics and my five mic recordings were completely independent. My effort was for a surround ITU alignment only, and therefore used microphones selected which are optimized for that purpose. While the DPA 4006A's and DPA4041SP's are both very clean and detail sounding, for large orchestra recording their "reach" and sound are very different. The 4006's response is essentially flat with the Free Field grid, whereas the 4041's have a 5dB rise at 8KHz, starting at 2KHz on axis. Off axis, the 4041's become flat at -60 degrees, and down portionally several dB more over the same range at -90 degrees. In a Decca Tree like placement (the front three placement on a ITU surround mic array), the 4041's can be placed relatively close to and aimed over an orchestra producing, a proportionally sweet sounding string and woodwinds expression, yet a crisp realistic pickup of the basses, horns, brass and percussion. The advantage of this technique, is the resulting image is spatially correct and very realistic, particularly played out in five channel surround. It however does not fold down to stereo very effectively.

For my interests, spot micing and/or flankers would undo the spatial accuracy of the ITU alignment, and are not as necessary with the use of mics like the 4041. Also, my objective of replicating the actual event and space is best served with the single point focus of a ITU alignment of five microphones. In that instance, each microphone is placed equal distance from a single point in front of the orchestra lying on a vector/angle matching the angles of the listening speakers.

I did double hang the Saken CO-100K's with the 4041's, but was not satisfied with their sound in this instance compared to the DPA4041SP. Their bottom end was not as full and rich as the 4041's, and their extended upper frequency range did not add to the realism of the sound. They of course were not placed in ideal positions for their characteristics, as they were not the principal front three microphones.

Thanks again Lucas,
Tom
Old 1 week ago
  #1504
Lives for gear
 

Quote:
Originally Posted by Gaston69 View Post
If people here on GS have suggestions in order to get a more reliable PT system please let me know.
PMX Native (even Essentials will do for recording/data acquisition). Beautiful integration with Horus.
Old 1 week ago
  #1505
Gear Addict
 

Quote:
Originally Posted by tailspn View Post
Hi Lucas, thanks for your interest!

The multi-mic Channel Classics and my five mic recordings were completely independent. My effort was for a surround ITU alignment only, and therefore used microphones selected which are optimized for that purpose. While the DPA 4006A's and DPA4041SP's are both very clean and detail sounding, for large orchestra recording their "reach" and sound are very different. The 4006's response is essentially flat with the Free Field grid, whereas the 4041's have a 5dB rise at 8KHz, starting at 2KHz on axis. Off axis, the 4041's become flat at -60 degrees, and down portionally several dB more over the same range at -90 degrees. In a Decca Tree like placement (the front three placement on a ITU surround mic array), the 4041's can be placed relatively close to and aimed over an orchestra producing, a proportionally sweet sounding string and woodwinds expression, yet a crisp realistic pickup of the basses, horns, brass and percussion. The advantage of this technique, is the resulting image is spatially correct and very realistic, particularly played out in five channel surround. It however does not fold down to stereo very effectively.

For my interests, spot micing and/or flankers would undo the spatial accuracy of the ITU alignment, and are not as necessary with the use of mics like the 4041. Also, my objective of replicating the actual event and space is best served with the single point focus of a ITU alignment of five microphones. In that instance, each microphone is placed equal distance from a single point in front of the orchestra lying on a vector/angle matching the angles of the listening speakers.

I did double hang the Saken CO-100K's with the 4041's, but was not satisfied with their sound in this instance compared to the DPA4041SP. Their bottom end was not as full and rich as the 4041's, and their extended upper frequency range did not add to the realism of the sound. They of course were not placed in ideal positions for their characteristics, as they were not the principal front three microphones.

Thanks again Lucas,
Tom
Thanks Tom, for pointing that out.
I have some prejudices against mics that feature such a high boost in the high frequencies, but maybe there are exceptions where they can shine...

Will your own itu recordings become available one day?

Best wishes, Lucas
Old 1 week ago
  #1506
Gear Head
 

The ladies of the ensemble did unspeakable things to my binaural head today. They used it like a little girls doll, and dressed it up.
Yep, Gude Head got dressed up like a gangsta, during a chamber music performance, in a church sanctuary.
Nothing quite like a disembodied gangsta head as a center piece to chamber music, ehh?
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Last edited by Moke; 1 week ago at 11:31 PM..
Old 1 week ago
  #1507
Gear Head
 
bobkeiser@ieee.o's Avatar
Quote:
Originally Posted by Moke View Post
The ladies of the ensemble did unspeakable things to my binaural head today.
Sacrément!
Old 1 week ago
  #1508
Gear Head
 

Sacrément straight!

Gude is no stranger to fashion. I think he actually enjoyed it.
A head of many hats; this time with his windscreen on.
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Old 5 days ago
  #1509
I really can't say enough about the Grace Design modular space-bar system. Here's three meters of omnis across the front in only one stand.
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Last edited by avillalta; 4 days ago at 07:39 PM..
Old 4 days ago
  #1510
Gear Head
 

Yesterday, Gude went with his own mics. And he decided to lose the ghetto look, and, went with something more dapper and sporting.
I keep telling him that the chin retainer thing is sort of geeky. But he insists that the chicks dig it.

Sennheiser MKE2002 Artificial Head Binaural Stereo Kit as Senn binaural protocol.
DPA4060 at 3' spacing on rabbit ear speader bar, velcroed to stereo t-bar as below pair
Line Audio CM3 pair as 35cm@50º pair
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Old 3 days ago
  #1511
Gear Addict
Interesting. How are you mixing the spaced Omnis with the binaural head? I was surprised to see Sennheiser advocating this technique using the Noisemakers Binauralizer:
BINAURALIZER | Noise Makers

Quote:
Originally Posted by Moke View Post
Yesterday, Gude went with his own mics. And he decided to lose the ghetto look, and, went with something more dapper and sporting.
I keep telling him that the chin retainer thing is sort of geeky. But he insists that the chicks dig it.

Sennheiser MKE2002 Artificial Head Binaural Stereo Kit as Senn binaural protocol.
DPA4060 at 3' spacing on rabbit ear speader bar, velcroed to stereo t-bar as below pair
Line Audio CM3 pair as 35cm@50º pair
Old 3 days ago
  #1512
Gear Head
 

Quote:
Originally Posted by bwanajim View Post
Interesting. How are you mixing the spaced Omnis with the binaural head? I was surprised to see Sennheiser advocating this technique using the Noisemakers Binauralizer:
BINAURALIZER | Noise Makers
On whim, and on a few different recordings now, I tried mixing the Edirol/Roland R09 tracks with other recordings, and have found that they align perfectly, and stay aligned for up to an hour and a half set of music (in post-edit).
I found that to be a total bonus, as I'll frequently use the R09 as a remote set-it-and-forget-it recorder; as example, on the balcony face as a boundary layer recording, when everything else is up front. Or as a backup recorder.
Now, I realize that they sink perfectly, so, the field became even wider.
I've tried mixing with the SD 722 tracks: synched. I've tried mixing with a Tascam DVRA1000 high-res recorder tracks: synched. Synched with the Tas DR70D as well.

Regarding the mix:
In two days, I'm 35 years as a dedicated two channel stereo recordist (1982-10-17). It is only in the last two years that I've begun attempting to do any sort of mixing work.
Right now, I'm doing minimal mixes that run closer to simple 1:1 overlay of two stereo recordings. Just last night I did my first and largest at this size, a 6 channel rendering of all of the mics on that stage (three stereo pairs mixed).
The CM3 pair and the DPA pair, as overhead mics, are synched at mastering.
The Senn Head was tied to a Roland R09HR that was at the base of the chest torso box, on the band side (you can see the little red record light).
The resulting mix of all six mics, sounded like things were on the verge of a phase issue, it sounds nice, but, perhaps right on the edge.
I also mixed the four omnis together; two overhead (dpa4060 pair), and the Senn binaural head. This one came out sounding like a smoky jazz club, sort of softer, and, allow me this as a good thing description,.. fuzzy around the edges;warmer, softer. A really nice sound.
The Faux_Faulkner array mixed down quite nicely with the cm3 pair in at -2.5dB below the DPA pair.
What was really the nicest of the mixes was the Senn Head, and the overhead CM3 sub-card pair.

But, ultimately, the Senn Binaural just shines proudly as a solo discrete two channel stereo recording, and the CM3 wide spacing, narrow focused stereo pair was a really close second.
It was a fun excercise.
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