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Old 10th October 2008
  #8
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Quote:
Originally Posted by Corran View Post
I know there've been arguments over close-miking versus distance-miking. I like close miking, just inside the crook of the piano, with a blend of some room mics.

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I agree that perspective is probably the biggest change in the way most classical recordings are made today. The older recordings I've heard sound like a concert from the second or third row of a hall. I understand the concept that in our multimedia times, we have to make recorded performances sound as exciting as possible because you can't see it. The result being a closer perspective that brings the audience closer to the artist. Maybe because I'm an (ex) professional musician, I equate the excitment of what's happening on stage as an exciting place for the listener to be.

Whenever I agree to record a pianist, I ask them to bring a favorite recording. This is always helpful when you know in advance which perspective or classic sound they like. If that isn't possible, I'll use multiple pairs to give options in post. To give an example, starting closest to the piano about 2 or 3 feet will be an M-S pair with spaced omni a little further back, then an ORTF with a couple omnis in the hall for ambience. This covers lots of bases!