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"Resolution" magazine profiles Plush
Old 14th August 2015
  #1
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Plush's Avatar
"Resolution" magazine profiles Plush

The July/August issue of "Resolution" magazine profiles my career and work at The Ravinia Festival.

Check the goods and the quote, "the Stellavox SM-8 is his constant companion."

Last edited by Plush; 15th August 2015 at 05:38 PM..
Old 15th August 2015
  #2
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narcoman's Avatar
 

Nice read! Great to see your honest approach to image capture in print.

Welcome to the Resolution club. Heh
Old 15th August 2015
  #3
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Larry Elliott's Avatar
Nice article Hudson.
Old 20th August 2015
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Get it on! Bang a gong!
Old 23rd August 2015
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Very nice sir! Congrats, will look forward to reading.
Old 26th August 2015
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Have just implemented a Tube-Tech MP 2A mic amp into powering the main pair at Ravinia. This is in shared duty with a Pueblo Audio JR2/2 "Supremo" mic amp.
Old 26th August 2015
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@ Plush congrats.
Old 1st September 2015
  #8
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We just added a Neumann KU100 head microphone.

Book your 3D sound session now.
Old 4th September 2015
  #9
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benoïde's Avatar
 

Great and inspiring article.

I record classical music for a living and I see you are a big advocate of DAV preamps, I'd like to try them someday, and your idea to mic the wood of the piano too!
Funny how techniques differ! Me and my coworkers mainly use an AB pair (DPA 4006) and spot mics, whether recording chamber music of symphonic orchestras, and you use a spaced pair of cardios. Is it because of the acoustics, or an aesthetic choice? I mean, regardless of the relative darkness of the hall you describe, making you prefer somewhat brighter mics.
I'll admit I have yet to try such a spaced pair, I've used a nos arrangement with Schoeps MK22 with good results, but that's really not the same.

I'm interested in binaural recordings too, I'm working on a custom head with DPA4060, but it's not finalised yet. Where do you place de Neumann head on the hall? Do you use it to place musicians 'around' the listeners (close field), or mainly to create a larger sense of space (far field)?
Old 6th September 2015
  #10
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Plush's Avatar
Quote:
Originally Posted by benoïde View Post
Great and inspiring article.

I record classical music for a living and I see you are a big advocate of DAV preamps, I'd like to try them someday, and your idea to mic the wood of the piano too!
Funny how techniques differ! Me and my coworkers mainly use an AB pair (DPA 4006) and spot mics, whether recording chamber music of symphonic orchestras, and you use a spaced pair of cardios. Is it because of the acoustics, or an aesthetic choice? I mean, regardless of the relative darkness of the hall you describe, making you prefer somewhat brighter mics.
I'll admit I have yet to try such a spaced pair, I've used a nos arrangement with Schoeps MK22 with good results, but that's really not the same.

I'm interested in binaural recordings too, I'm working on a custom head with DPA4060, but it's not finalised yet. Where do you place de Neumann head on the hall? Do you use it to place musicians 'around' the listeners (close field), or mainly to create a larger sense of space (far field)?
Thank you for your nice comments.

The AB pair of cardioids is used as needed. It is not a standard main pair for me, but it works so well in the Martin Theatre at Ravinia that I have standardized on it there. Spaced cardioid pair is quite common in Germany where many different set-ups are seen that are not seen in the US.

I like ORTF a lot and use it very often-- also NOS.

The choice in the Martin Theatre is because we have many string quartets, chamber orchestras, and other configurations of players where a sense of width is what I want to portray.

On the binaural front, I began using the Neumann head in 1995 at the Milwaukee Symphony. There we hung that head as part of every concert series and recorded it at 192kHz. The results were excellent and I liked the binaural sound very much. Now I have added a Neumann head here for use as well.

It is used as a main pair, and as a rear stereo mic for surround recordings.

Sound is fantastic and other head type methods cannot approach the accuracy and beauty of sound available from the Neumann KU100. Experimentation with careful placement is essential with the head. It is NOT a set up and forget it type of array.

That's the report for now,

Best from Chicago,

Plush-Phonic Dub Donic
Old 7th September 2015
  #11
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The AB cardioids sound like a similar sort of principle to the Straus Packet, without the omni component ?

Do you tend to have a fixed distance apart for the mics Plush, or are they variable and dependent on the width of the ensemble ? Do you avoid a hole in the middle effect with pattern choice or careful spacing ?
Old 7th September 2015
  #12
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It's just an AB cardioid arrangement---no big deal. No hole in the middle ever.

The width of the spaced cardioid changes from around 28 inches to 15 feet.

All depends on the ensemble and how I want to portray the group.

As I said it is NOT a standard set up for me as a main pair. More often used as a distant pair to read the hall and offer a feeling of width.
Old 10th September 2015
  #13
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Here are screen shots of the article.
Attached Thumbnails
"Resolution" magazine profiles Plush-screen-shot-2015-09-06-11.11.11-am.jpg   "Resolution" magazine profiles Plush-screen-shot-2015-09-06-11.11.32-am.jpg   "Resolution" magazine profiles Plush-screen-shot-2015-09-06-11.10.34-am.jpg  
Old 10th September 2015
  #14
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narcoman's Avatar
 

Quote:
Originally Posted by Plush View Post
Here are screen shots of the article.
Bought a MBP mostly because of what you said about them.
Old 10th September 2015
  #15
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Thanks for those screenshots Plush ! That's an interesting approach to piano miking you've outlined....I presume it negates a lot of the lid effect and diffractions, but wouldn't it sound a bit congested and boxy, and perhaps prone to emphasizing mechanical noises (hammers etc), with a marked emphasis on the treble strings ?
Old 10th September 2015
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Quote:
Originally Posted by studer58 View Post
Thanks for those screenshots Plush ! That's an interesting approach to piano miking you've outlined....I presume it negates a lot of the lid effect and diffractions, but wouldn't it sound a bit congested and boxy, and perhaps prone to emphasizing mechanical noises (hammers etc), with a marked emphasis on the treble strings ?
This mic on the wood of the piano mellows the tone and presents it in a beautiful manner. However, uncut fingernails CAN be heard. No real emphasis of the treble (right hand) or mechanical noises. No hammer noise.

This method is meant to deemphasize all of the negative aspects you speak of.

YOu just have to try it to see if it works for you.
Old 11th September 2015
  #17
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I'm going to try it for sure, but just to clarify....the mics are located on the outside of the piano and pointed at the wood of the body's side, below lip level... or is it inside the box of the piano ? I'd assumed the latter, hence my prediction of the mechanical noises and boxy sound.
Old 11th September 2015
  #18
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That's right--the mic are outside the piano and pointed at the wood . Also, yes, below the lip of the piano top.

It doesn't always work out depending on repertoire and the piano itself. Often though, this gives a beautifully mellow and restrained treble. Like turning a Steinway into a Bosendorfer sound.
Old 11th September 2015
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Thank you Plush, I'll give it a spin soon...I'm guessing a spaced pair of SD omnis, say 18 to 24 inches, would give the best warmth and ambience plus bass extension in this scenario.

It's always good to have a new approach to piano to try out...!
Old 11th September 2015
  #20
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Quote:
Originally Posted by Plush View Post
That's right--the mic are outside the piano and pointed at the wood . Also, yes, below the lip of the piano top.

It doesn't always work out depending on repertoire and the piano itself. Often though, this gives a beautifully mellow and restrained treble. Like turning a Steinway into a Bosendorfer sound.

Any chance you have a picture of this type of mic setup?

-Tom

P.S. - I enjoyed reading the Resolution article. Good stuff.
Old 12th September 2015
  #21
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Quote:
Originally Posted by Tommy-boy View Post
Any chance you have a picture of this type of mic setup?

-Tom

P.S. - I enjoyed reading the Resolution article. Good stuff.
Sorry--I don't have pictures.
Old 12th September 2015
  #22
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Great to read more about you and your work Plush.

Diva turned me onto high end audio and sopranos too! There is so much erotic style, artistry, and of course, music in that film. One of the greatest films IMHO. The French do it like no other.
https://www.youtube.com/watch?v=Nia45zL4Pws

Last edited by David Spearritt; 13th September 2015 at 06:04 AM..
Old 13th September 2015
  #23
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Quote:
Originally Posted by David Spearritt View Post
Diva turned me onto high end audio and sopranos too! There is so much erotic style, artistry, and of course, music in that film.
Except that the correlation between the gear he was toting, the recording position and the supposed audio result, clearly put the film in the realm of fantasy (as if there were any doubt, particularly in regard to French Cinema).

As an Australian, the credibility gap was that he could carry that gear into an auditorium and regard the recording as in any way 'covert'.

But (as usual) I digress ...
Old 13th September 2015
  #24
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Quote:
Originally Posted by panatrope View Post
... clearly put the film in the realm of fantasy (as if there were any doubt, particularly in regard to French Cinema).
Or any film really.

Just saw a scene from Gravity, in a Dolby Atmos mastering theatre, where Clooney is oblivious of how an astronaut might sound while doing his job, and these papia mache asteroids started looming from the middle distance with hugely exaggerated whooshing noises. Somewhat puzzling in a vacuum.

Movie sound is now so unrealistic as to be a complete parody. The French stretch credulity a little in Diva, but it was so stylishly done. The opposite of Clooney et al.
Old 18th September 2015
  #25
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Originally Posted by Plush View Post
That's right--the mic are outside the piano and pointed at the wood . Also, yes, below the lip of the piano top.

It doesn't always work out depending on repertoire and the piano itself. Often though, this gives a beautifully mellow and restrained treble. Like turning a Steinway into a Bosendorfer sound.
I'm wondering if this constitutes a sort of 'house sound' for piano recordings by Teije Van Geest for Naxos/Marco Polo, or is it used when other more conventional methods don't produce a satisfying result ?
Old 18th September 2015
  #26
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Quote:
Originally Posted by studer58 View Post
I'm wondering if this constitutes a sort of 'house sound' for piano recordings by Teije Van Geest for Naxos/Marco Polo, or is it used when other more conventional methods don't produce a satisfying result ?
I think that Van Geest came to this method later and used it when it was appropriate to obtain a warm and somewhat non direct sound. This was primarily to influence the sound of the right hand during the piano recording---to make it more mellow.

Other tonmeisters at Van Geest's studio often did NOT use this method and so I don't consider it a Naxos house sound. You have to realize that we did more than 150 cds a year out of that studio. 3 or 4 people did all this work.

So this was something that Van Geest showed me at first as a sort of novelty recording method at first and later became a more common working method.
Old 18th September 2015
  #27
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Very nice article Plush. When I still lived in Chicago I attended concerts at Ravinia as frequently as I could, so this brings back good memories. The last few years I've been thinking I should make it up to Ravinia for some concerts the next time I am in Chicago for summertime. And now that I think of it the last time I was in the Martin Theatre was for a Joe Henderson, Jazz in June program around 20 years ago. Holy smokes, time flies!

Anyway, congrats!
Old 19th September 2015
  #28
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Very cool article. We are reminded how important it is to learn and study from a master - and then again to have Plush sharing so often here so we can all learn.

Love that we have some folks keeping the flame alive for classical music.
Cdlt

Last edited by Melgueil; 19th September 2015 at 12:17 PM.. Reason: spelling
Old 19th September 2015
  #29
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Plush's Avatar
Thank you for your nice comments. They are certainly appreciated here.
Old 19th September 2015
  #30
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Ha, picked it up for free at the IBC. Nice article indeed! Don't you rack your equipment :-) Still rocking the good ol' Neve! I was asking myself why do you use a DAD and an Hapi and a Mytec converter. Just for stereo conversion to have different sounds? Also curious how you set the Neve master bus compressor and DAV Eq. We use a Waves bcl for broadcast level control at a very low ratio and low treshold to tame everything a bit and just a few db peak reduction when the brass lose their temper.
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