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"Resolution" magazine profiles Plush
Old 2 weeks ago
  #91
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Plush's Avatar
You'll want to visit my website at:
www.hudsonic.net

Lots of pictures + client list

Sounds at:
https://soundcloud.com/hudson-fair
Old 2 weeks ago
  #92
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c1ferrari's Avatar
 

Nice, Plush - enjoyed your w/s.
Old 2 weeks ago
  #93
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The use of the word “atomized” drew some criticism and brought up the topic of vocabulary. The reality is our vocabulary for describing sound is extremely limited. Off the top of my head, echo and hollow are two words that have a direct connection to sound. The rest are onomatopoeic words such as:

buzz
snap

crack
zip
pop

Bright, warm, cold, dark, etc. are the types of words used because for some reason, they work, but they have nothing to do with sound. Technical language might define sound but struggles to communicate any impression of the character of sound. The word “honk” carries a lot of character with it.

We have an extensive vocabulary for all things visual, but our vocabulary for sound seems to be inherently limited and often times rather negative. New sounds require new words and some imagination in order to attempt any meaningful descriptions. It is kind of hard to do.
Old 2 weeks ago
  #94
Lives for gear
https://www.quickanddirtytips.com/ed...ds-snow?page=2

Yes, it's a lexicon lacking in loquacity, that's for sure....certainly less than the Inuit/snow paradigm
Old 2 weeks ago
  #95
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Plush's Avatar
So glad that I'm right back to plugging a microphone directly into a recorder
(14 channels-Sonosax SX-R4+) rather than some kind of number cruncher ethernet / switch combo plate.

I am in the music recording business, not the computer routing matrix business.

Sonosax offers 135dB of dynamic range.

Reduce channels on orchestra recording--do not increase them ad infinitum. Group balances themselves. That's also possible because I have the confidence to trust my ears to ask conductor (or I ask directly myself) to adjust the balance.

"We need more 2nd. trombone and we also want the oboe to play softer there at 2 after letter D"
Old 2 weeks ago
  #96
Lives for gear
Quote:
Originally Posted by Plush View Post
So glad that I'm right back to plugging a microphone directly into a recorder
(14 channels-Sonosax SX-R4+) rather than some kind of number cruncher ethernet / switch combo plate.

I am in the music recording business, not the computer routing matrix business.

Sonosax offers 135dB of dynamic range.

Reduce channels on orchestra recording--do not increase them ad infinitum. Group balances themselves. That's also possible because I have the confidence to trust my ears to ask conductor (or I ask directly myself) to adjust the balance.

"We need more 2nd. trombone and we also want the oboe to play softer there at 2 after letter D"
Plush, would you say your 14 channels are a sensible max ....or do you generally aim for fewer ? Which would be the non-negotiable instruments/sections to always add spots to....and which tend to be often unnecessarily overly spot-miked in typical orchestral recordings ? I'm typically at 8-10 mics for an orchestral concert, incl double bass and harp spots, plus 2 wood winds ....but can hanker for tympani and horns too on occasion.
Old 2 weeks ago
  #97
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Plush's Avatar
Hello esteemed Studer 58,

Straight ahead orchestra can be recorded with 12-20 microphones, so, as I said, I can handle 14 or 16 on the Sonosax.

If one has a contemporary piece where there is a large percussion battery, micing numbers will increase.

I can cover any chorus with 5 Pearl CC22 mics. I often mic vocal soloists in stereo. So chorus+vocal soloists would increase the numbers.

Germans lead in microphone mania. Often 45-50 microphones on orchestra. Film score type orchestra recording for standard classical music record release (not film) with film score recordists in charge often balloon up the mic complement.

It is usual to spot mic 3 mics on the woodwinds covering both rows. Also a horn mic, and I want plenty of coverage on the percussion set up and timp. Spot mic the bass section. Inner strings are often nice to have. If the concertmaster has solos, pick them up. I don't spot mic brass. Four across the front is standard.

A lot of the time could use 12-14 mics to record orchestra. Mix it down right on the spot for a live broadcast.

What about when one overmics the orchestra and often regrettably picks up all the mistakes in high fidelity??
Old 2 weeks ago
  #98
Gear Addict
Quote:
Originally Posted by Plush View Post
You'll want to visit my website at:
www.hudsonic.net

Lots of pictures + client list

Sounds at:
https://soundcloud.com/hudson-fair
Hi Plush, I'm originally from Milwaukee. Did you by chance do the Koss recordings in the late 80s early 90s for the Milwaukee Symphony?
Old 2 weeks ago
  #99
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Quote:
Originally Posted by Plush View Post
I am in the music recording business, not the computer routing matrix business.
I know how you feel and can certainly identify with it. But its liberating to have such comprehensive functionality in such a small amount of superb sounding gear.

Quote:
Sonosax offers 135dB of dynamic range.
Jacques Sax worked with Claude Cellier on Anubis, which ended up with the same dynamic range.
Old 2 weeks ago
  #100
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Plush's Avatar
Quote:
Originally Posted by shosty View Post
Hi Plush, I'm originally from Milwaukee. Did you by chance do the Koss recordings in the late 80s early 90s for the Milwaukee Symphony?
Thank you for your question. I did not do those Koss recordings. I think that was Larry Rock and Vic Muenzer doing those.

Later, I did work for the Milwaukee Symph (2005-2008) originating their recordings, download series and the use of the binaural head for recording every concert. As a coincidence, Koss was one of the sponsors for getting the Neumann binaural head mic
Old 2 weeks ago
  #101
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Plush's Avatar
Quote:
Originally Posted by David Spearritt View Post
I know how you feel and can certainly identify with it. But its liberating to have such comprehensive functionality in such a small amount of superb sounding gear.


Jacques Sax worked with Claude Cellier on Anubis, which ended up with the same dynamic range.
Excellent, excellent.
Old 2 weeks ago
  #102
Gear Addict
Quote:
Originally Posted by Plush View Post
Thank you for your question. I did not do those Koss recordings. I think that was Larry Rock and Vic Muenzer doing those.

Later, I did work for the Milwaukee Symph (2005-2008) originating their recordings, download series and the use of the binaural head for recording every concert. As a coincidence, Koss was one of the sponsors for getting the Neumann binaural head mic
Very, very cool. Is there any way to get access to those binaural recordings beyond what is on your SoundCloud? I'd be really interested to hear them.
Old 2 weeks ago
  #103
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Plush's Avatar
The Milwaukee Symphony seems to have removed the binaural recordings from their website. In the past these recordings were available for sale and download.

I cannot provide past MSO recordings to the public.
Old 2 weeks ago
  #104
Gear Addict
Quote:
Originally Posted by Plush View Post
The Milwaukee Symphony seems to have removed the binaural recordings from their website. In the past these recordings were available for sale and download.

I cannot provide past MSO recordings to the public.
I kinda figured. I didn't see them on their site either. Too bad though.
Old 2 weeks ago
  #105
Gear Addict
Quote:
Originally Posted by Plush View Post
Thank you for your question. I did not do those Koss recordings. I think that was Larry Rock and Vic Muenzer doing those.

Later, I did work for the Milwaukee Symph (2005-2008) originating their recordings, download series and the use of the binaural head for recording every concert. As a coincidence, Koss was one of the sponsors for getting the Neumann binaural head mic
One more comment, Plush...Was listening again last night to the Binaural recordings of the Tchaikovsky and Grieg on your SoundCloud. First, your recordings sound great, but I was also reminded how underrated that orchestra is. The MSO has always tended to be overshadowed by the CSO just 90 miles to the south but there's some real musicality in that group. The cellos sound fabulous - warm, rich, full - as do the other strings, and the horn solo is superb. The recordings are how I remember the orchestra. I always thought of the MSO's basic sound as Phily-like: warm, rich strings with a deep, round sound. Of course, I'm biased, but your recordings do real justice to the group.

I encourage you all to take a listen on Plush's SoundCloud if you haven't already. Of course, good headphones are a necessity.

https://soundcloud.com/hudson-fair/b...kovsky-symph-5

Sincerely,
Your friendly neighborhood Cheesehead
Old 2 weeks ago
  #106
They’re about to have a beautiful brand “new” movie palace concert hall soon, excited to see how it compares to other similar spaces in the US once it’s finished (St Louis and Pittsburgh, especially)

Quote:
Originally Posted by shosty View Post
One more comment, Plush...Was listening again last night to the Binaural recordings of the Tchaikovsky and Grieg on your SoundCloud. First, your recordings sound great, but I was also reminded how underrated that orchestra is. The MSO has always tended to be overshadowed by the CSO just 90 miles to the south but there's some real musicality in that group. The cellos sound fabulous - warm, rich, full - as do the other strings, and the horn solo is superb. The recordings are how I remember the orchestra. I always thought of the MSO's basic sound as Phily-like: warm, rich strings with a deep, round sound. Of course, I'm biased, but your recordings do real justice to the group.

I encourage you all to take a listen on Plush's SoundCloud if you haven't already. Of course, good headphones are a necessity.

https://soundcloud.com/hudson-fair/b...kovsky-symph-5

Sincerely,
Your friendly neighborhood Cheesehead
Old 2 weeks ago
  #107
Gear Addict
Quote:
Originally Posted by king2070lplaya View Post
They’re about to have a beautiful brand “new” movie palace concert hall soon, excited to see how it compares to other similar spaces in the US once it’s finished (St Louis and Pittsburgh, especially)
Fabulous. I wasn't aware of this, but check out how gorgeous this hall will be,

https://www.jsonline.com/story/enter...ts/3141770002/

Can't wait to hear them in their new venue.
Old 2 weeks ago
  #108
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Quote:
Originally Posted by shosty View Post
Fabulous. I wasn't aware of this, but check out how gorgeous this hall will be,

https://www.jsonline.com/story/enter...ts/3141770002/

Can't wait to hear them in their new venue.
i'm kinda surprised that - if the actual build then will share any similarities to the rendering - such a hall gets built these days...?! is this an american thing? longing for a past it never had?

dunno of any halls in europe (or africa) which got built in the last 50 years which would try to rely so heavily on old designs; maybe some restoration works but no new builds...

Last edited by deedeeyeah; 6 days ago at 08:15 PM.. Reason: typo
Old 2 weeks ago
  #109
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Quote:
Originally Posted by deedeeyeah View Post
i'm kinda surprised that - if the the actual build then will shares any similarities to the rendering - such a hall gets built these days...?! is this an american thing? longing for a past it never had?

dunno of any halls in europe (or africa) which got built in the last 50 years which would try to rely so heavily on old designs; maybe some restoration works but no new builds...
It isn't a new build. It's more a re-imagining/retrofit of an existing structure. The US has a lot of old movie palaces from the grand age of theater -- this is one of them that is getting a new life.
Old 2 weeks ago
  #110
Gear Addict
Quote:
Originally Posted by deedeeyeah View Post
i'm kinda surprised that - if the the actual build then will shares any similarities to the rendering - such a hall gets built these days...?! is this an american thing? longing for a past it never had?

dunno of any halls in europe (or africa) which got built in the last 50 years which would try to rely so heavily on old designs; maybe some restoration works but no new builds...
It's a genuine restoration - a very historic theatre built in the 1930s.

Milwaukee also has the Pabst Theatre (photo below), which was also a restoration...
Attached Thumbnails
"Resolution" magazine profiles Plush-0927000033-l.jpg  
Old 2 weeks ago
  #111
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Brent Hahn's Avatar
 

Quote:
Originally Posted by shosty View Post
Milwaukee also has the Pabst Theatre (photo below), which was also a restoration...
Hard to imagine a PBR drinker setting foot in that place.
Old 2 weeks ago
  #112
Gear Addict
Quote:
Originally Posted by Brent Hahn View Post
Hard to imagine a PBR drinker setting foot in that place.
Oh, every one drinks beer, dances the polka, eats cheese curds and polish sausage...well, almost everyone, haha
Old 1 week ago
  #113
Quote:
Originally Posted by Plush View Post
So glad that I'm right back to plugging a microphone directly into a recorder
(14 channels-Sonosax SX-R4+) rather than some kind of number cruncher ethernet / switch combo plate.

I am in the music recording business, not the computer routing matrix business.

Sonosax offers 135dB of dynamic range.

Reduce channels on orchestra recording--do not increase them ad infinitum. Group balances themselves. That's also possible because I have the confidence to trust my ears to ask conductor (or I ask directly myself) to adjust the balance.

"We need more 2nd. trombone and we also want the oboe to play softer there at 2 after letter D"
When you give all the players a microphone, and take the balance out of their hands and put into someone else's hands, the players give up trying to balance, because they know what's happening.

That's been my experience anyway. I worked with one of, if not the best big bands in the UK on trombone during the 70s/80s, and on stage the balance was most times superb. In the studio, balance wise, it just didn't sound like the same band, because everyone knew there was no point in balancing, it was futile. They were going to be given the balance by the engineer from the multi-mic-multi-track.

No attempt at all was made of using the room as part of the recording.

I've recorded big bands since, and mic up in such a way that each section balances within itself on a pair of mics, then the role of the engineer is just to gather what the players have given, pan it, and mix it.

It's on a par with the reason Frank Sinatra did not want to overdub, he wanted to be in the room with musicians performing.,

It makes everything real, and live.

Erm........I guess everyone already knows that on here though......................I'll get my coat!!
Old 6 days ago
  #114
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Plush's Avatar
Have added some lovelies (singers) here and a Gyraf unit.

Gyraf supplied by OneF Sound.
Attached Thumbnails
"Resolution" magazine profiles Plush-hfgreen.jpg   "Resolution" magazine profiles Plush-gyraf.jpg   "Resolution" magazine profiles Plush-barbaraewa.jpg  

Last edited by Plush; 6 days ago at 02:48 AM..
Old 6 days ago
  #115
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Tommy-boy's Avatar
 

Quote:
Originally Posted by Plush View Post
Have added some lovelies (singers) here and a Gyraf unit.

Gyraf supplied by OneF Sound.
Nice pics. Gear question - are you using R0de NTRs at the tail of the piano?
Old 5 days ago
  #116
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boombapdame's Avatar
Is @ Plush that you in the 1st pic? If so, you're good looking.
Old 5 days ago
  #117
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Plush's Avatar
Quote:
Originally Posted by Tommy-boy View Post
Nice pics. Gear question - are you using R0de NTRs at the tail of the piano?
Thank you for your question. Yes, those are Rode ribbons used Decca Records style. With that set up one still maintains the treble on the LFT and the bass notes on the RT. Not as concentrated a sound as having mics in the front of the piano.

Also, one takes advantage of the telescoping effect of spaced figure-of-eight (Faulkner array) mics on the piano. Sound is rich and present.

For this live broadcast, it was violin and piano. 2 spaced Coles 4038 mics captured the violin through the Gyraf preamp used with a Cloudlifter booster amp.

Sound was thick and rich. Live broadcast was hailed! Artist was invited back for more live bcasts.
Old 5 days ago
  #118
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Plush's Avatar
Quote:
Originally Posted by boombapdame View Post
Is @ Plush that you in the 1st pic? If so, you're good looking.
It is me in that green elevator in Krakow, Poland.

Thanya, thanyavermuh!
Old 5 days ago
  #119
Here for the gear
 

Enough with the relentless self-promotion, already. Not only is that forbidden by the rules of GS, it makes you look insecure, hard up for work and utterly without class.
Old 5 days ago
  #120
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Quote:
Originally Posted by Paul T 702 View Post
Enough with the relentless self-promotion, already. Not only is that forbidden by the rules of GS, it makes you look insecure, hard up for work and utterly without class.
Well, I for one find it entertaining and just got some valuable info on piano micing. So what's not to like?
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