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Processing on Condenser Microphones
Old 6 days ago
  #1
Lives for gear
Processing on

Here's a bit of fun to put a smile on your dial...a trad jazz ensemble processes on from the rear right of the hall, up the steps at the front of stage and walk into position, all the while playing St Louis Blues.
I'm sure you can guess the point where they cross in front of the main pair. Simple ORTF plus piano spot mic...love that sousaphone ! There's pleasure in simple music, played with verve
Attached Files

St Louis Blues mp3.mp3 (13.87 MB, 371 views)

Old 5 days ago
  #2
Gear Head
 

Great stuff, thanks for sharing!
Old 5 days ago
  #3
Lives for gear
...no problem, it picks up steam nicely from about 2 mins onwards !
Old 5 days ago
  #4
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jimjazzdad's Avatar
Very nice. Yes, the tuba/sousaphone is great in jazz - I wish we heard it more often than just in the Dixieland style. But I digress. Do you think you might have been better served by rolo46's swiss-army-knife-solution of an MS pair of figure 8 mics? I must say that your ORTF sounded very natural for mics pointed the wrong way right up to the moment of the fly-past and then it was business as usual once the band assumed the stage.

FWIW, I was ambushed by a wandering clarinettist in a classical-Persian fusion piece once. I had a boojum/jnorman array up, so I was able jack up the gain on the omnis for the segment with the peregrinating woodwind to get a good sound while still preserving the sense of distance. A pair of MS MKH30 would have been great in that instance.
Old 4 days ago
  #5
Lives for gear
Great and very real !
What was the mics ?
No reverb added ?
Old 4 days ago
  #6
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Lost the quoted examples of "processing" when my archive crashed irretrievably a few years back, but testament to the versatility of the no-longer available AKG C426B (with remote pattern control).

1. Soprano recital begins with her entering (singing) from the rear of the auditorium. Quickly (and silently) switch from MS cardioid to MS Blumlein, then as she processes to the stage, switch the main back to cardioid, avoiding her being in the out-of-phase quadrant of the Blumlein config. Positioning was briefly a bit funny, but a transitory effect, and the change in reverb ratio told most of the story. Most listeners wouldn't have been paying attention anyway ...

2. Jazz recital, small group, new-world-ish, percussionist David Jones enter from afar with some small hand percussion. Main mic is the 426B in Blumlein (good auditorium), but departing from rehearsal, does a complete 360 degree traverse round the mic on his way to the rest of his kit. I suppose the out of phase segments just added to the "new-world-ish" ambience, quite interesting for those listening on headphones.

Overall, I am all for capturing movement on stage during live performances (though it generally needs contexting during subsequent presentation).
Old 4 days ago
  #7
Lives for gear
Quote:
Originally Posted by mathieujm View Post
Great and very real !
What was the mics ?
No reverb added ?
Superlux S502 and Shure SM57 underneath Steinway grand ( ...but it worked !) pointing up at the middle 'ribs'
I didn't add reverb (lively hall) but the PA operator may have been feeding the piano into the hall line array, via DPA spot mics under the closed lid (hence my SM57) which the S502 would have picked up a little of ?
Old 4 days ago
  #8
Lives for gear
Quote:
Originally Posted by jimjazzdad View Post
Very nice. Yes, the tuba/sousaphone is great in jazz - I wish we heard it more often than just in the Dixieland style. But I digress. Do you think you might have been better served by rolo46's swiss-army-knife-solution of an MS pair of figure 8 mics? I must say that your ORTF sounded very natural for mics pointed the wrong way right up to the moment of the fly-past and then it was business as usual once the band assumed the stage.

FWIW, I was ambushed by a wandering clarinettist in a classical-Persian fusion piece once. I had a boojum/jnorman array up, so I was able jack up the gain on the omnis for the segment with the peregrinating woodwind to get a good sound while still preserving the sense of distance. A pair of MS MKH30 would have been great in that instance.
Yes Rolo46's mkh30/40 or panatrope's AKG examples above would have enabled better walk-on pickup with focus, but my off axis ORTF still did OK....winds up the anticipation, before the rapid 'zoom in' when they hit the stage !

Last edited by studer58; 4 days ago at 05:17 AM..
Old 4 days ago
  #9
Lives for gear
Ive had a few processions of an unexpected and unrehearsed nature
A choir on stage and a minor choir in the rears/dome of the hall
A band section in the rear of hall
Wandering musicians in a cathedral
All recovered from a 30/30 array
However 4 string quartets in the 4 corners of a nave proved impossible as did Orfeo from all over a v large shoebox
Great fun though, failure is a learning experience
Old 4 days ago
  #10
Lives for gear
Quote:
Originally Posted by Rolo 46 View Post
Ive had a few processions of an unexpected and unrehearsed nature
A choir on stage and a minor choir in the rears/dome of the hall
A band section in the rear of hall
Wandering musicians in a cathedral
All recovered from a 30/30 array
However 4 string quartets in the 4 corners of a nave proved impossible as did Orfeo from all over a v large shoebox
Great fun though, failure is a learning experience
Musical directors do that stuff because they want throw us into a tizz ....so you can't let them detect any shock or fear ! Or they do it to appear cutting edge and innovative....which it probably was, around 400 years ago, in those European cathedrals . Reinvention is the mother of laziness....or maybe its child
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