View Single Post
Old 17th June 2006 | Show parent
Gear Head

Originally Posted by I-Quality
at 2min24 you even hear the singer blowing in the mics....
Maybe, but unlikely. She is singing in good, clean and undisturbed voice when that noise appears. She wouldn't sound as good as she does if she were letting air out uncontrolled like that. She's singing, not puffing. The harpsichord mics also contribute to the reverb as well as her own mic (set to omni). That noise could be something else.

Originally Posted by I-Quality
you say the mics are too far away, and doesn't fit your taste but what's the problem you perceive, too much reverb?
Yes, to me at least it is primarily the reverb. This is the hardest problem I find in larger, lively stone churches where sound bounces around for ever. I don't know where you recorded, but now and then I record in a stone church that is about 50m long 15-20 m wide and high. Lots of stone structures for sound to bounce from. Hardly anything (except audience of unpredictable size) that absorps sound. It's quite lively. Finding the balance between direct and reverb is tricky. On location I use headphones and they are more forgiving to reverb than speakers so back home over speakers there is invariably more reverb than I expected... I'm gradually learning. AFAIK all you can do is use directed pickup patterns, angle, height and distance. Move around until you think it sounds good. It will be a compromise. You get too close and you get too much of the mechanism and plectrums and also an unnatural timbre. Get too far away and you get too much reverb. One can experiment with height too.

The soundonsound article you mentioned was made in a concert hall with a very different and controlled reverb.

Occasionally someone mentions the critical distance. In a place like this you probably don't want to be much farther out than that. In a place like this the critical distance is pretty short. Perhaps <2m.

Originally Posted by I-Quality
i don't see her standing right in front of a least not on a live performance...
In cardioid she wouldn't need to be very close and shouldn't be either. Certainly not closer than 1-1,5m. As long as nothing obstructs the free "line of sight" between the mic and the singer you can have the mic higher then her looking down above the sight line of the audience or below looking up above the sight line. Small mics preferred. Anyone used the DPA compact cardioids 4021? They wouldn't be to visible as long as you could find a thin unpbtrusive stand for it.

best regards
Show replies