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Dvorak Piano Quintet on two mics.
Old 22nd September 2019
  #1
Lives for gear
Dvorak Piano Quintet on two mics.

MKH 800/30 sum and difference
Clean, cool hall on a hot day in July in leafy Cheltenham.
Rig at ear height 10' back from the epicentre of the quintet.
Delicious performance.
Roger
Attached Files

CMF 19 .Nash Ensemble CD 2..m4a (4.77 MB, 832 views)

Old 22nd September 2019
  #2
Lives for gear
 
tourtelot's Avatar
Wow! I read where the mics were placed and thought "so close!" But it sounds nice; very detailed, although I am not a fan of Sennys on strings right now. A bit "dark" for my taste but I think my ears have really become (maybe too) accustomed to the sound of the DPAs so I might be a bit skewed on that. It does seem a bit close to me but I typically go for a little more diffuse sound. The distance to the ensemble would be where I might start but I would have the pair a bit higher and looking down a bit?? 9'?? Anyway, great job and the client should be well pleased.

BTW, nice to be reminded that what works sometimes isn't how I'd do it. There are lots of ways to skin the cat (and now, my three cats are looking at me with that look that tells me that they might try and kill me while I sleep )

D.

Unashamed plug: I am selling a nice pair of MKH40s on the classifieds. Really nice cardioids!
Old 23rd September 2019
  #3
Lives for gear
 

you might be surprised how mics even INSIDE a piano can sound: doesn't need to be harsh and piercing or that mics pick up insane amounts of string, hammer and pedal action - in fact, there is so much sound swirling around/getting reflected that one may not need to use efx! even mic patterns don't matter much (although i'm mostly using wide cardioids - and comp/lim plus maybe eq to cut out resonances/to emulate what some distance does)...
Old 23rd September 2019
  #4
Lives for gear
Recording string quartet is a great challenge Doug, as Im sure you know.
Previously I have used fig 8 for M, this gives both room and music
This season I decided on a different approach and went for wide cardioid M, this reduces room and audience (hence quieter backgrounds)
I also came down from my normal aerial view and operated at ear level to the Musos.
This was to reduce harshness of string tone, and to relive the actual perceived tonality experienced by the audience.
I love the fig 8 M ability to render audience ,room and the music, its difficult to replicate with a card, the render is so different.
The card offers delicate detail, the stage is the focus.
As for working distance ,it is nearly the same as the overhead array, but it is more intimate, akin to front row centre, as opposed to central 4 rows back with the 8.
I like both approaches, I get a bit of stick with my high array, less this year at head height, strangely when I look at the audience, most have their eyes closed and are deeply immersed in the music and atmosphere, who cares where the array is ?
Roger
Old 23rd September 2019
  #5
Lives for gear
Quote:
Originally Posted by deedeeyeah View Post
you might be surprised how mics even INSIDE a piano can sound
The next time I'm recording Rachmaninov Piano Concerto No.3, 4th movt.... I'll put my head under the lid, and report back here....
Old 23rd September 2019
  #6
Lives for gear
Quote:
Originally Posted by deedeeyeah View Post

___

[i'm just not getting why some folks make a big fuss about recording small (or large) ensembles under rather 'normal' conditions: can successfully be done with minimal gear which requires less time/work but enables less options how to portray the ensemble (as in the op's case) or more gear which requires more time/work but enables more options...]

___

to get back to topic: i'd probably use up to twelve mics on such an ensembe even though i might end up using only two.
The clue is in the thread title DeeDee
A quintet on two mics...
Im not making a big fuss, or the contrary I fly below the radar.
But 12 mics for a quintet in a Regency Pump Room would certainly be considered extraordinary by my 'clients'.
Quartet and Quintet work is dialog between musicians
It requires discretion and tact not a DPA on every instrument and mics in the effing piano!
You certainly would not be in business if this was your intended approach for this type of gig.
Roger
Old 23rd September 2019
  #7
Lives for gear
That 'belt and braces approach' is pretty much current film/tv dialogue capture.
However I am the producer and recordist, I control the capture but not the performance.

Here is a delicate sliver of Haydn in the same Palladian venue.
Roger
Attached Files

CMF 19.Castalian SQ CD 1..m4a (11.38 MB, 560 views)

Old 23rd September 2019
  #8
Lives for gear
 
Bruce Watson's Avatar
 

Quote:
Originally Posted by Rolo 46 View Post
Here is a delicate sliver of Haydn in the same Palladian venue.
Roger
Sublime. The only word that comes to mind.

I'd buy that recording if I could. Is there a CD?
Old 24th September 2019
  #9
Lives for gear
Its a Festival Archive recording Bruce
Many people ask me about them, but so far no public access.
They should be on a Festival Website for subscribers imho.
Old 28th September 2019
  #10
Gear Nut
Two piano quintet concerts with the same program this weekend, simple NOS at about head-height of the string players, with stereo spot on the piano. Worked well - what really surprised me was the trial addition of (new-to-me) Neumann boundary mics as very widely spaced ambis for the second show... WOW! I needed something to aerate the stereo picture, and as it was a live concert was reluctant to run two more mic stands. Man, did they deliver. They have a way of collapsing distance, grabbing everything going on in the hall without sounding compressed or wooden. These are going to be secret weapons. The color even blended in with the stage!
Attached Thumbnails
Dvorak Piano Quintet on two mics.-neumann-gfm132.jpg  
Old 4 weeks ago
  #11
Gear Nut
Sample from the previous mentioned concert: Beach piano quintet op67, in a rather dry theater - MK5 mains (cardioid NOS), piano spots A-B 4011a, all through John Hardy M1. Of course also the GFM132 as ambi.

Swimmy goodness -- Bear in mind all strings are *con sordino*!!
Attached Files

Beach_2nd_mvt.mp3 (3.15 MB, 411 views)

Old 4 weeks ago
  #12
Lives for gear
 
jnorman's Avatar
Killer - I generally do not favor boundary mics, but I’m listening... where were they placed?
Old 4 weeks ago
  #13
Gear Nut
Thanks!
If you click on the photo and look closely, I drew red bubbles around them -- the gray color was excellent camouflage!

For comparison purposes here are just the ambis, straight (no FX.)
Attached Files

Beach-2nd-Ambi-sample.mp3 (2.11 MB, 295 views)

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