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Old 4 weeks ago
  #48
Lives for gear
 

Yes, I'd very much endorse getting a bunch of Line Audio OM-1 omnis and CM4 cardioids...either would make good spots in this scenario...and will stand you in good stead for future recordings too.

You can see a pair of CM3 (virtually identical to the CM4, newly released) in this situation (links below) being used as an XY pair shared between 2 singers at a concert I recorded recently ...

https://vimeo.com/343559297/2e7509adfb
https://vimeo.com/344212466/6130d1ff95
https://vimeo.com/344936964/04f1ac6848

I should've added, to take numerous photos to supplement your written/spoken notes and measurements...so when you're back home and listening to the experiments on studio monitors, you can cross reference this data to your 'gut feeling' responses to headphones listening at the rehearsals.

If there's a high degree of correlation between the studio monitor and headphones-on-location impressions, it will give you confidence that the latter are supplying you with valid aural cues at the sessions !

If not, and you trust your studio monitors...then you need to seek out headphones which are a better match with them, or else take your monitors out on location with you (but expect to need room treatment if you do so...better quality, trustworthy (ie translatable) headphones are easier to carry and use) ! After your microphones are sorted, your on-location monitoring tools are the next link in the chain to give your attention and expenditure to.

Last edited by studer58; 4 weeks ago at 04:05 PM..