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DPA 2006/2011 thoughts?
Old 4th August 2019
  #31
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Quote:
Originally Posted by Lurcher_lover View Post
(...) -9.6 dB true peak. (-14 LUFS). It was recorded on a MixPre-3 and apart from an edit or two there is no processing at all.
that's on the hot side for a close mic piano recording as they are capable of producing estonishing transient peaks - how close was that?

i mostly keep lufs of my mixes lower; depends on the repertoire a bit though.
Old 4th August 2019
  #32
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One correction for you, Steinway labels with letters not numbers. It's a Model O not Model 0.
(sorry for being pedantic but I was very confused by what you recorded by that simple mislabelling as I record a lot of them)
Old 4th August 2019
  #33
Addition
Quote:
Originally Posted by deedeeyeah View Post
that's on the hot side for a close mic piano recording as they are capable of producing estonishing transient peaks - how close was that?

i mostly keep lufs of my mixes lower; depends on the repertoire a bit though.
It had to be a placement right at the side of the piano in the curve with lid up. Otherwise the room sound would have spoilt the recording. I kept lots of headroom as I agree it is on the hot side, and in a good acoustic I would have used the mic's at at least 4-5 feet away.

At an earlier recording in a church here in London I had the mics at about 4 feet and it worked well even with cheap AT mics, a long time ago. The mics on this occasion pointed up to reduce the highs on the capsule as they are really intended for the far field.

I might get hold of a pair of OM1's as they are cheap, and try them, as I've heard a lot of good things about them.

I might use -20 LUF's as I understand that it's more appropriate for classical music. Or maybe -16?

Last edited by Lurcher_lover; 4th August 2019 at 11:33 AM.. Reason: Addition re LUF's
Old 4th August 2019
  #34
Quote:
Originally Posted by pentagon View Post
One correction for you, Steinway labels with letters not numbers. It's a Model O not Model 0.
(sorry for being pedantic but I was very confused by what you recorded by that simple mislabelling as I record a lot of them)
Yes, sorry I meant a model O, I but pressed the wrong key. (Models O, A, B, C and D).
Old 4th August 2019
  #35
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thx for elaborating (and nothing wrong with going close if it does the trick: i often even put mics inside the piano).
Old 4th August 2019
  #36
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With such a relatively close placement of mics to piano mechanism and lid surface area, there's little chance for air diffusion and friction to diminish or dissipate the acoustic energy reaching your mics. I'm guessing a net result could be a perceived exaggeration of dynamics....and I can see why you need this placement, as you've outlined already.

As you already have a -14LUFS recording, why not try another couple: at say -19 and -23 LUFS. Then play back all 3 recordings in sequence at the same dB level, and see if you find a preference for a particular range or zone of recording level, which gives the most pleasing integrated loudness ?
Old 4th August 2019
  #37
Quote:
Originally Posted by studer58 View Post
With such a relatively close placement of mics to piano mechanism and lid surface area, there's little chance for air diffusion and friction to diminish or dissipate the acoustic energy reaching your mics. I'm guessing a net result could be a perceived exaggeration of dynamics....and I can see why you need this placement, as you've outlined already.

As you already have a -14LUFS recording, why not try another couple: at say -19 and -23 LUFS. Then play back all 3 recordings in sequence at the same dB level, and see if you find a preference for a particular range or zone of recording level, which gives the most pleasing integrated loudness ?
I will certainly try that and see if I can find the best to use. Will come back once I've got some results.
Old 4th August 2019
  #38
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didier.brest's Avatar
 

Quote:
Originally Posted by studer58 View Post
As you already have a -14LUFS recording, why not try another couple: at say -19 and -23 LUFS.
Do you mean that recording at -19 LUFS provides a different result from recording at -14 LUFS without clipping and applying -4 dB gain to get -19 LUFS ?
Old 11th August 2019
  #39
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Many thanks for this and your other audio clips! Your recordings sound great, and for the record, I like the string quartet sound from your earlier post--I like being able to hear the wood and the rosin when it comes to string recordings. The 2006Cs seem like something to really investigate--although I'd love to be able to afford a pair of 4006s, that is just not in the cards right now. Thanks again!


Quote:
Originally Posted by Eric D View Post
Fore those interested in this microphone, here are 2 other samples recorded with a pair of DPA ST 2006C .

The first is an extract of Ravel's "Tzigane" for violin and piano . DPA 2006's in AB 40 cm, recorded directly on a MixPre 6, no processing at all .

The second is an extract of "Laudario de Cortona", music from Tuscany at the Middle Ages .
The ensemble consists of a singer and five musicians (medieval fiddle, lyra, percussion, oud, flute), placed in a classic way .
To have a correct balance between the singer and the musicians, I had to place the microphones at greater distance than normal for omnis : 3,8 m from the singer, nearly 7 m from the percussion at the rear . AB 40 cm, height 2,4 m .
I was impressed by the ability of the 2006's to reproduce so much detail and finesse at such a distance !
Recorded in concert, directly on a Tascam DR 680 MKII, no processing at all .

Thank you,
Eric
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