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Forte Piano
Old 18th August 2019
  #31
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Quote:
Originally Posted by Simmosonic View Post
Ha! Mics as prophylactics...
Reminds me of the old Grim Reaper ad of the 1980's !
https://www.youtube.com/watch?v=mSmaWEK_rD4

However, I think Doug is hinting here that ribbons should be the first mic to reach for in the gig carry bag...rather than using condensors, and then suffering post-concert regret for a poor choice ? I aim to get some ribbons soon to try this thesis out myself...
Old 18th August 2019
  #32
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Quote:
Originally Posted by studer58 View Post
Reminds me of the old Grim Reaper ad of the 1980's
I watch that ad now and the expression in the narration is almost laughable, but when it aired decades ago it scared the heck out of me.


Quote:
Originally Posted by studer58 View Post
I aim to get some ribbons soon to try this thesis out myself...
I recently picked up a pair of Rode NTRs for that very reason. A lot of the stuff I’ve been recording around SE Asia is metallic and percussive. I also grabbed a couple of Dead Wombats. The plan is to find a local seamstress who can cut and sew them into an appropriate shape to use on the NTRs. Most of the traditional music in Bali, at least, is performed outdoors, so I have to windproof them. The NTR’s outer mesh will essentially be the ‘blimp’ (there’s an inner mesh immediately over the ribbons), with the freshly-tailored windjammer pulled tightly over it. That should be enough protection to ensure that none of my recordings will ever get HIV.

I’m putting the ‘pro’ into ‘prophylactic’...
Old 18th August 2019
  #33
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yes the Grim reaper made AIDS a general public health issue...which was a very mature government response at the time, and in retrospect it justified the shock tactic.

You must be building up your muscles ...you'd hardly call a pair of NTR's "travelling light", but quite something to think they pass muster as a generalist on-the-move backpackable mic.

I guess being both rugged and active-powered means they can handle this type of working spec ? It'll be great to see how they fare across the various environments you operate in.
Old 20th August 2019
  #34
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Quote:
Originally Posted by studer58 View Post
I guess being both rugged and active-powered means they can handle this type of working spec ? It'll be great to see how they fare across the various environments you operate in.
I am yet to use them in a proper session; I’ve got one ‘in the wings’ but first I need to get the windjammers sorted out. What I’ve heard from them so far sounds great.

They are damned heavy!

I’m interested in the locking pins and so on, seems like they’re well suited for moving around compared to other options.
Old 20th August 2019
  #35
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Quote:
Originally Posted by Simmosonic View Post
I am yet to use them in a proper session; I’ve got one ‘in the wings’ but first I need to get the windjammers sorted out. What I’ve heard from them so far sounds great.

They are damned heavy!

I’m interested in the locking pins and so on, seems like they’re well suited for moving around compared to other options.
yes, I suspect keeping them upright and out of danger for a long field-service life will be an ongoing study and application of the principle of 'low centre of gravity' at all times

I think the locking pin gets disengaged, but stays in the end of the basket, from memory of reviews...rather than something you pull out before use...and then immediately misplace and lose !
Old 20th August 2019
  #36
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Quote:
Originally Posted by studer58 View Post
I think the locking pin gets disengaged, but stays in the end of the basket, from memory of reviews...rather than something you pull out before use...and then immediately misplace and lose !
It’s basically a long threaded screw with an easily turned top. I take them right out because they’re not so tight and I can imagine them rattling. I haven’t tested if they do, but it just seems to me that you don’t want anything like that rattling around in the vicinity of a microphones; seems like the kind of thing that will take off and rattle if hit by just the right frequency and create yet another mysterious buzz in the system path. I could be wrong about that.

My other thoughts about the locking pins is that they’re like the 3.5mm to 6.5mm adaptors for AudioTechnical headphones, which screw one. You don’t want to lose those! You can use any adaptor with them, of course, but the thread-on ones are great because they just change the jack entirely.
Old 26th August 2019
  #37
For what it's worth I like B a lot more than A. B is fine for me as it stands.

Just my humble opinion, and I'm not an expert on Forte Piano sound - I should point out, but musically B hits the spot.
Old 2 weeks ago
  #38
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Equipment for fortepiano recordings

Hi! Here is a question from someone completely new to the world of professional recording.

I'm a pianoforte graduate student looking for equipment to record myself, solo or in small chamber music groups, both in live concerts and in recording sessions.

I would very much appreciate if any of you could tell me what equipment works well with an instrument such as the fortepiano (quiet but very nuanced). I have a moderate budget for it.

Any useful information a novice in fortepiano and chamber music recording could have will be much appreciated!

Thanks!

PS: I know what I need is maybe too broad (solo AND chamber music; fortepiano OR fortepiano with other instruments; live OR in recording session environment), but at the moment I’m indeed looking for an equipment that suits this versatility.
Old 2 weeks ago
  #39
Buying good audio recording equipment is expensive. I would opine that, unless you want to become an audio engineer, you find an engineer in you hood that is already equipped and trained to provide you with a quality capture of your work. It will be cheaper in the long run to hire rather than train and buy equipment to DIY unless you want to learn to be an engineer as well as be a performer.

Just my $.02

D.
Old 2 weeks ago
  #40
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Quote:
Originally Posted by tourtelot View Post
Buying good audio recording equipment is expensive. I would opine that, unless you want to become an audio engineer, you find an engineer in you hood that is already equipped and trained to provide you with a quality capture of your work. It will be cheaper in the long run to hire rather than train and buy equipment to DIY unless you want to learn to be an engineer as well as be a performer.

Just my $.02

D.
Thank you for your reply! I very much understand your point. However, having an engineer with me / us for every concert I give is not feasible. That's why despite the limitation of not being myself an enginner I would like to get the best possible results.
Old 2 weeks ago
  #41
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Quote:
Originally Posted by jltp View Post
Thank you for your reply! I very much understand your point. However, having an engineer with me / us for every concert I give is not feasible. That's why despite the limitation of not being myself an enginner I would like to get the best possible results.
Do you have a budget in mind...that always helps with equipment recommendations ?
Old 2 weeks ago
  #42
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https://www.sounddevices.com/product/mixpre-3-ii/

https://en-us.sennheiser.com/cardioi...one-mkh-40-p48
as a mid microphone

https://en-us.sennheiser.com/studio-...ent-mkh-30-p48
as a side microphone

if you have cash to spare:
https://en-us.sennheiser.com/studio-...kh-800-twin-ni
as a mid microphone is more versatile

Then some good cables and a high stand (at least 3m, just in case).

Total budget : $3500 - $5500

Anything less will not be satisfactory and money wasted.
Old 2 weeks ago
  #43
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Quote:
Originally Posted by Yannick View Post
Anything less will not be satisfactory and money wasted.
MS is not the only option, and not even the most usual one for piano recording.
I think that two low/mid-budget mics (for instance 2 OM1) and a low/mid-budget PC interface (for instance an id 22), plus cables etc. for a total cost less than 1000 €, allow recording quality good enough for anybody, even a professional, not being able to detect only by listening that the recording gear (mic, preamp, AD converter) was not at professional grade (> 1000 € each item), provided that the musician, the instrument and the room/hall are.

Last edited by didier.brest; 2 weeks ago at 11:24 AM..
Old 1 week ago
  #44
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IMO the OP is a fortepianoplayer, and probably a good one at that. He will be a discerning listener. The OM1 mics in a cheaper interface will have too much hiss, I am quite sure of that. Being a musician, the OP also does not need to bother with setting up a laptop, usb interface and the longer cables this implies, maybe even a multi (which could cost almost half of a MKH30 !).

Making a good fortepiano recording is also not as easy as a Steinway D.

I suggest MS stereo, as with a bit of practice in post-production, it is a much more failsafe technique, when recording & playing at the same time. There are good - free - MS plugins.

It is also possible to get the mics closer or even within the ensemble, without having big stereo issues, as is the case with a AB setup. IMO this is important as the OP is performing, and not able to do a 1h soundcheck, running around like a madman.

The mixpre3 can be set up underneath the mic stand. Much less setup time (as he is a player, he needs to warm up and think about the concert, not about the laptop).

My point was, getting a good & flexible & fast setup is not cheap. Spending half of what is necessary will result in something that is not satisfactory and so, wasted money.

These kind of questions should not be treated with, yes (!) you can have what you want, for 10% the pros pay, and it will be nearly as good. Do not spend money on a pro making a few concert recordings, you can do it yourself, with cheap gear !

What I am suggesting is about 10% of the cost of a decent fortepiano. Which the OP probably owns. This setup will give 20+ years of satisfaction (if the Sound Devices lives as long).

The cheap option will give 6 months of fiddling around, and then the realisation more money needs to be spent.
Old 1 week ago
  #45
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Thank you for your comments!
Old 1 week ago
  #46
This just proves that there are dozens of different opinions and the costs vary from reasonable to incredible. Musicians usually listen to the music and not the equipment. It reminds me of the days when hi-fi buffs had very expensive turntables and amps etc., and when listening to a piece of music they only heard the equipment, and not the music, composer, or performer!
Old 1 week ago
  #47
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Quote:
Originally Posted by Lurcher_lover View Post
This just proves that there are dozens of different opinions and the costs vary from reasonable to incredible. Musicians usually listen to the music and not the equipment.
I actually agree.

But one must not forget that, compared to 40 years ago, the cost of the mics is not higher (they are slightly more expensive, but actually cheaper in today's money). A mixpre3 is very cheap against a Tascam DA-30 (I seem to remember 1650 euro, but the euro did not exist yet - ie. at least 3000 euro in today's money.). Then you still had to add at least 1000 euro for a decent mic preamp.

My argument is, for much less the money one had to pay 30 years ago, you have a setup that is:

a. much more portable
b. much more transparant and highend, compared to 30 years ago.
c. much more dependable, almost no maintenance/repair costs

My proposed 3300 dollar setup used to cost at least 9K-10K in today's money.

It is exactly the fact that the op does not want to listen to the equipment, that there must a certain level of quality.

This you simply cannot have for 1000-1500 dollar all-in.
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