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String quartet - mics n arrangements? Condenser Microphones
Old 3 weeks ago
  #61
Gear Head
 

Quote:
Originally Posted by Earcatcher View Post
Be careful who you take side with! Not everyone here likes my non-conformistic way of thinking. But thank you for reading my links and listening to my samples.



I know more about this history, but do not feel at liberty to disclose too many details as I heard them from Dirk Brauner. Let's say that for a number of reasons the new super microphone never materialized. The new capsules were one of the developments that were supposed to lead to the new mic. The real problems were in the development and production of a new type of thermionic valve (!), specifically for the new mic.

However, there is some light at the horizon: in the German language New Year's message on their website, this January, Brauner promises something very interesting for this year to happen. "Einige unserer Produkte erfahren in diesem Jahr einige Detailverbesserungen. Das Gute daran ist, dass alle bestehenden Kunden Ihre Produkte mit diesen Detailverbesserungen nachrüsten können." (Source here: Brauner Microphones: News) "This year some of our products will receive a few detail improvements. The good thing is that all existing customers can have their products upgraded with these improvements." I'd say: stay tuned!



I like the sound of ribbons, but not the noise you get at the end of the chain, due to their low level signal. My preferred use of ribbons has become spot miking. Due to their natural rolled off highs they fit very well into a larger image, without giving overly crisp details. Their fig8 pattern also makes them extremely suitable for keeping other instruments out of the pickup, while at the same time you can use their back to pick up space, when properly placed. And since spots are always mixed in at a very low level (if at all) the noise never plays a role this way. It is great to be able to place a violin spot above the instrument, a position you would never choose with a condenser because it would end up in horrible stridency. With the back of the mic aimed at the ceiling, or into a ceiling corner, you can still get a very nice bloom that will serve the violin a lot. This is also valid for a lot of other instruments that need space to come to life.

The Valvet X is so totally different from the sound of a ribbon that I would never be able to convince the musicians to use a ribbon for main pickup after they have heard the LDC. Without the need of EQ the Valvet X sounds just great on all kinds of strings. As we saw in this thread some don't mind using EQ in all cases, but if I can avoid it I will, simply because any EQ will give you phase shifts, while getting the right signal straight from the mic will not.

In case you are interested I could PM you a few links to CDs that used LDC ECA technique for the pickup of the entire ensemble.
I'd be delighted if you could PM me with some links to CDs recorded via LDC ECA. I'd be happy to acquire and listen. Thanks in advance.
Old 3 weeks ago
  #62
Quote:
Originally Posted by Plush View Post
TLM 170 and U89 are kings as far as using large diaphragm mics on strings.
I concur with Plush- the U89 is my usual choice for string spots (also for some sopranos, but I have never really liked them as the main pair).
Old 3 weeks ago
  #63
Although some consider it the "poor cousin" of the family, I've often used my pair of TLM-193's as string spots. I agree that they won't do as a main pair -- too colored off-axis. It's remarkable how cheap '193's are on the secondary market. Many inferior options cost significantly more.

Last week I acquired a pair of TLM 107's. Preliminary comparisons suggest that I will prefer the '107's on violins and the '193's on cellos and (probably) on violas.

David L. Rick
Seventh String Recording
Old 1 week ago
  #64
Lives for gear
Here's a pretty textbook-standard way to record a string quartet.

In the opening 15 secs of the video (see link below) you can spot a suspended overhead AB pair of omnis, my guess would would be 50-67 cms.

A wider pair of outrig/flank mics also hanging down just outside the main pair.

Spot mics (likely Schoeps Collette or Neumann ) behind each of the small strings, floor-stand LD (ribbon ?) for cello

Simple, effective...and results in a good sound. You can get an idea of the church size at the end (27:50) I find the reverb a bit incongruous with the size of the place, but not a big distraction ?

GoYa Quartet Amsterdam: YouTube

Recording engineer is Guido Tichelman: interview >> Cookies op de Volkskrant
Old 1 week ago
  #65
Lives for gear
 

Quote:
Originally Posted by studer58 View Post
Here's a pretty textbook-standard way to record a string quartet.

In the opening 15 secs of the video (see link below) you can spot a suspended overhead AB pair of omnis, my guess would would be 50-67 cms.

A wider pair of outrig/flank mics also hanging down just outside the main pair.

Spot mics (likely Schoeps Collette or Neumann ) behind each of the small strings, floor-stand LD (ribbon ?) for cello

Simple, effective...and results in a good sound. You can get an idea of the church size at the end (27:50) I find the reverb a bit incongruous with the size of the place, but not a big distraction ?

GoYa Quartet Amsterdam: YouTube

Recording engineer is Guido Tichelman: interview >> Cookies op de Volkskrant
Hi Studer, nice story in the Volkskrant to explain what our work actually is. People in the world outside classical music have no idea whatsoever...

Regarding the recording of the Goya quartet, there's a lot of sound coming here from above the instruments, and that translates into a lot of not so benign upper frequencies. I prefer my mics to be more in front of them. It's the same reason why I prefer to use stands over hanging my mics, but often enough that choice is dictated by practical and estethical considerations.
Old 1 week ago
  #66
Lives for gear
Quote:
Originally Posted by Lucas_G View Post
Hi Studer, nice story in the Volkskrant to explain what our work actually is. People in the world outside classical music have no idea whatsoever...

Regarding the recording of the Goya quartet, there's a lot of sound coming here from above the instruments, and that translates into a lot of not so benign upper frequencies. I prefer my mics to be more in front of them. It's the same reason why I prefer to use stands over hanging my mics, but often enough that choice is dictated by practical and estethical considerations.
Yes I agree to a point...if it were my session I probably would have pulled the main pair more towards the audience and lowered them, but i wouldn't have placed the spots anywhere other than where you see them in the video.

It could be that there was more spot mics in the mix than was necessary for focus...which might explain the additional reverb added to cover them in the mix ?

The same engineer in that article is also chief engineer for the truly massive (and hyper-productive !) "All of Bach" | Netherlands Bach Society : "High quality recordings of the works by Johann Sebastian Bach, released every Tuesday and Thursday for music lovers worldwide, in Full HD, performed by the Netherlands Bach Society and her guest musicians"
YouTube

Here is yesterday's offering: YouTube

Great audio AND camera work (and a forest of Schoeps spot mics )!
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