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Violin & piano, positioning of players and microphones
Old 2 weeks ago
  #151
Gear Maniac
 

Quote:
Originally Posted by Geoff Poulton View Post
Interestingly, the recording was made in the chapel of the school that Alan Blumlein attended.
And John Rutter and John Tavener went there too a little later, of course.

Cheers,

Roland
Old 2 weeks ago
  #152
Quote:
Originally Posted by Geoff Poulton View Post
As a matter of courtesy, when I opened the piano lid I asked the soloist to let me know if got too draughty for her!



Well, I enjoyed it anyway.
Always good to keep the draughts out!

I enjoyed it too, I am being a bit too pernickety!
Old 1 week ago
  #153
Lives for gear
I wonder if it's ok to change gears somewhat, since this thread has thoroughly examined the solo-instrument-plus-piano accompaniment conundrum, and generated much great conjecture and practical guidance ? Please permit me a slight diversion to the somewhat less-common solo violin recital, minus the 'distraction' of any accompanying piano....

I'm thinking of miking somewhat to one side or the other of the standing player...rather than perpendicular to his torso facing the audience.

Building from aracu's advice of narrow spaced (11-14", angled out), near field omnis such as OM1's, at just above or below shoulder height....and far enough away from the player to get a pleasing room-to-direct sound balance. Not too high in the air, to avoid stridency.

I'd like to avoid any sense of sway or movement across the stereo picture, as well as any sense of phasiness from the mic pickup...yet get a sound which adequately fills out the stereo soundstage; neither too centred/narrow, nor comically wide.

It's a tall order, I know...but are narrowly-spaced, near-field omnis capable of delivering on these criteria for a solo violin recital ?
Old 1 week ago
  #154
Quote:
Originally Posted by studer58 View Post
I wonder if it's ok to change gears somewhat, since this thread has thoroughly examined the solo-instrument-plus-piano accompaniment conundrum, and generated much great conjecture and practical guidance ? Please permit me a slight diversion to the somewhat less-common solo violin recital, minus the 'distraction' of any accompanying piano....

I'm thinking of miking somewhat to one side or the other of the standing player...rather than perpendicular to his torso facing the audience.

Building from aracu's advice of narrow spaced (11-14", angled out), near field omnis such as OM1's, at just above or below shoulder height....and far enough away from the player to get a pleasing room-to-direct sound balance. Not too high in the air, to avoid stridency.

I'd like to avoid any sense of sway or movement across the stereo picture, as well as any sense of phasiness from the mic pickup...yet get a sound which adequately fills out the stereo soundstage; neither too centred/narrow, nor comically wide.

It's a tall order, I know...but are narrowly-spaced, near-field omnis capable of delivering on these criteria for a solo violin recital ?
Well, I like to record a solo violin at 5-8 feet out (depending on the acoustic) and at about head height but facing the "f" holes if possible. Ribbons are good but omni condensers can be OK as well, probably sdc but ldc might be worth trying.

You need to experiment with distance and room sound to get the best sound with little or no bow noise. As for swaying around, the great players of the past were rock solid but the Joshua Bell's of this modern era are a nightmare, as they move around so much, and because of that they can't achieve what the rock solid (Heifetz/Milstein) era could. (Near filed omni's could be good ...)
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