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Old 22nd July 2012
  #15
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Quote:
Originally Posted by MichaelPatrick View Post
We changed three things in today's session and the problem disappeared:
  1. MK21 instead of MK22 and re-aimed the axis, putting it over the soprano's head. The singer also moved forward a little bit.
  2. On strong forte passages the singer turned 30 degrees to reduce on-axis energy.
  3. We moved the piano back 3 feet, opened the lid from short to full stick and turned the tail upstage, away from the singer, so the hinge was no longer exactly 90deg to the soprano and the main microphone.
My analysis

The MK21 is warmer and the pattern is more generous. The diffusing grill in front of the capsule probably reduced on-axis pressure. Moving the soprano forward made it possible to open the piano lid full stick and still keep them in balance.

Asking the soprano to turn a little bit on fortes was a no-brainer. Once she got it the improvement was obvious.

Moving the piano back and opening the lid gave us a fuller piano sound and it was still balanced because the soprano had moved forward a little.

Finally, we turned the piano's tail back away from the singer by about 15deg. We discovered, to my surprise, that the singer's forte passages consistently made the strings resonate, producing a high-pitched flutter that contributed significantly to the distortion we were hearing. Changing the angle stopped direct reflections and moving it back reduced her energy hitting the strings.

Problem solved!

BTW, this is a recording session, not a concert, but the lessons I've learned may be helpful in future concerts.
Good post, thanks.