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A bit of Schubert . . .
Old 6 days ago
  #1
Gear Addict
 

A bit of Schubert . . .

A particularly lovely performance of the G-flat Impromptu from a recent live concert.

Mic'ing is a single pair of Schoeps CCM2S placed about 16' out from the crook of the piano, spaced about 50cm apart, perhaps above the floor of the stage; the piano is a '20s vintage 9' Steinway. This room has decent reverb time, but lots of weird reflections up front that make it difficult to figure out how to place mics . . .

Anyway, comments are welcomed and most appreciated.
Attached Files

Track 02.mp3 (9.21 MB, 230 views)

Old 6 days ago
  #2
Gear Nut
 

Nice recording and playing.
I'm courious - does the ' mean feet? If so, it took you almost 5 meters away from the piano? Seems a bit far, also this is what I hear. I like the sweet highs, but the lower registers became muddy. Maby because of the amount of the reflected sound due the distance ( I'm listening on older Grundig boxes, which sound very sweet, but still remaining some precision, still it's not the studio monitor, so might e a bit wrong here).

Anyway, enjoying the sound
Old 6 days ago
  #3
Gear Addict
 

Quote:
Originally Posted by Stradivariusz View Post
I'm courious - does the ' mean feet? If so, it took you almost 5 meters away from the piano?
Yeah, the ' means feet . . . but come to think of it, they were probably a bit closer, perhaps 12'/4m away.

This is the first time I've recorded solo piano in this space, and I didn't get the chance to make any adjustments after setup, but I did walk around extensively while he was practicing a couple of days prior. The problem I was hearing when I was any closer to the piano was this sort of boxy/thumpy quality in about that C2 - C3 range . . . not in a good "clarity and definition" kind of way . . . but more in a "big Baldwin in Aunt Mabel's living room" sense. Also, since this was a concert recording, I didn't want it to sound too much like it wasn't "in the hall", so I erred on the side of a bit wetter presentation.

I'll admit that I'm having trouble separating out exactly what are issues with the instrument - you can hear that there are some regulation/voicing problems in the C5 - C6 octave, especially the D and Eb - and the idiosyncrasies in this room, from what could be improved in recording technique. There is absolutely no place in this room where I can hear the kind of "warmth" and "fullness" that many big Steinways have. This room also has a very close critical distance with most instruments . . . it's shoebox-shaped, and the reverberation dominates everywhere past 20' from the front edge of the stage. But if I get too close, then there are these early side reflections that pop up and make the midrange really harsh-sounding.

I'm recording a small vocal ensemble with organ in the same space in a couple of days, perhaps I'll use the same mics in AB50 at a similar distance for comparison . . .
Old 6 days ago
  #4
Gear Nut
 

Maby try another time to get closer. Experimenting with angle of the mics - opening the angle can give nice - or not - change of the color, directing them over the instrument can create more depth if the hall is helping.
Good read on the placement of the omnis you can find on the website of DPA - if you didn't see it already.
I would wait with "AB50" till you see how wide or deep the ensemble is. Maby you could go wider or more narrow. Depends on the wanted aestetics also. Some like the image of the group from one speaker to another. I prefer the placement between the speakers, that the musicians are not spread from the extreme left to the extreme right. Might sound very good sometimes, but as a representation of the real concert stage it would depend on the real case. If the group take hole stage, I would record wide, if only part of the stage is taken, I would try to preserve the width. Omnis are difficult, but when you get the minimum idea how they work, they might be magic. Witdth controls the stereo image, check it out.
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