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One for Tony F
Old 2 weeks ago
  #1
One for Tony F

I was having a look through some recordings I have on my PC (for hi fi playback), and noticed one CD I had not played for many many years. It was the late British organist Jennifer Bate playing at the Albert Hall in 1977, and I noticed the engineer was Tony Faulkner. Do not suppose there are any notes on mics/techniques used ?
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Old 1 week ago
  #2
Hopefully he's still around on here. Might be worth DMing him (I had a very helpful and pleasant conversation with him last year about a project I was working on). A lovely chap.
Old 1 week ago
  #3
Gear Maniac
 

That was a very long time ago!

Two Calrec CM1050 "fat" cardioids in a slightly overwide ORTF on top of the tallest stand I had at the time.

Straight into a Neve Melbourn mixer which weighed a lot, especially in its flight case. Straight to a Studer B62 with Dolby A361's. Monitored on Spendor BC1 speakers.

Next to no editing because Jennifer Bate was a terrific concert artist.
Old 1 week ago | Show parent
  #4
Lives for gear
 

i'm impressed! - did/do you keep track of all gear used on every project thoughout your entire career?
Old 1 week ago | Show parent
  #5
Quote:
Originally Posted by TonyF View Post
That was a very long time ago!

Two Calrec CM1050 "fat" cardioids in a slightly overwide ORTF on top of the tallest stand I had at the time.

Straight into a Neve Melbourn mixer which weighed a lot, especially in its flight case. Straight to a Studer B62 with Dolby A361's. Monitored on Spendor BC1 speakers.

Next to no editing because Jennifer Bate was a terrific concert artist.
Many thanks Tony. Its a very impressive sound for a room and the organ that are notoriously difficult to record in
Old 1 week ago | Show parent
  #6
Gear Maniac
 

One like this one was easy to remember!
Old 1 week ago | Show parent
  #7
Gear Maniac
 

The Royal Albert Hall is huge. Who told you it was notoriously difficult to record in? The orchestral stage is actually quite dry and you only really get in a mess if you use too many mics trying to fight the acoustics rather than enjoy them. Too many mics wreck the body of string sound of an orchestra in there.

You can't pretend you are somewhere like Watford or Walthamstow and put up some M50's and expect them to work at their best. They sound fat and flabby in there.

BBC R3 did some great broadcasts from the Albert Hall when Campbell Hughes was there. He never went overboard with mics everywhere because you end up with a mush, with strange scratchy dry hotspots of certain individual players sticking out like sore thumbs.

The reverb tail goes on for a long time, but there is a substantial predelay built-in because of the size of the place.
Old 1 week ago | Show parent
  #8
Lives for gear
Quote:
Originally Posted by TonyF View Post
One like this one was easy to remember!
I’m also guessing that, back then, your gear inventory at hand was much more limited than what you have today ?
Old 1 week ago | Show parent
  #9
Gear Maniac
 

You got it, hole in one. Very limited and easy to remember.

At Enigma when I joined we had two Studer B62's, two Dolby A361's, and a dodgy Dolby A301 which lived in the editing room at base. I had a used Studer C37 at home for editing as well.

I brought my Calrec mics and they already had six AKG C451's which I didn't like very much. Plus a Neve Melbourn console and my Spendor speakers.

Everything was straight to 2-track, and I still think that way even if most everything now is multitrack, unless I am just using two mics which has been the case with a couple of recent projects.

Working with distanced groups during the Covid period has been a horrible challenge when performers are spaced so far apart and a usually trusty overall mic system sounds like echo return.
Old 1 week ago
  #10
Lives for gear
Carrying a B62 around to locations...that would have easily gained you a place on the British Olympic weightlifting team !
Old 4 days ago | Show parent
  #11
Gear Maniac
 

What a joy my Sound Devices MixPre is in comparison. Big progress now with lighter equipment.

I had good training for carrying a B62. When I was a student I had a Revox G36 which was no lightweight either. When we did the earliest ambisonic recordings we used a Scully half-inch 4track which was even heavier than the Studer.
Old 4 days ago | Show parent
  #12
Lives for gear
Quote:
Originally Posted by TonyF View Post
What a joy my Sound Devices MixPre is in comparison. Big progress now with lighter equipment.
Yes, multiple orders of magnitude of difference...in weight, battery powering, channel count etc etc.

Now that you've probably had ample chance for making recordings since your initial acquisition...how do you rate the quality of the Sound Devices mic preamps and AD conversion, compared with the hardware you were using immediately prior (Audient, Sadie ?)

Are there any shortcomings (eg reduced 'orchestral weight', dimensionality, dynamics) you've had to adjust to or put up with ?
Old 3 days ago | Show parent
  #13
Gear Maniac
 

We run both the Sound Devices and the Audient/SADiE rigs, depending on the project. From a sound quality point of view I am happy with both. The MixPre gets used most often for when we are doing audio of a concert for a video project. The Audient/SADiE rig is for more formal sessions where we have a comprehensive control-room setup for playback to clients and artists. Both sound good to me in terms of orchestral weight, dynamics, etc.. The Audient/SADiE rig is much more flexible for playbacks and monitoring, and we have a higher trackcount which is necessary for recording socially distanced orchestras. We can save monitor mixes in SADiE, so when we take the project home it is immediately ready for editing. For simple video jobs the MixPre is fantastic - so quick and light - and we can send a 2ch monitor mix straight to cameras. I could not manage with only one system. For me, unless you have something horribly wrong, I hear much more difference between microphones and microphone techniques than I do between the front-ends of either the MixPre or Audient pre's.
Old 3 days ago
  #14
Lives for gear
 
Plush's Avatar
All HAIL Tony F
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