Recording - August 2018 - 64

LiveORCHESTRA RECORDING
artificial digital reverb in post-production to make up for the
lack of room sound. Doing this never sounds as good, but it
can also make for quicker mic placement, which is sometimes
an advantage.
I don't recommend taking this approach, but some people
do. In the 21st Century we have plenty of channels; if you can
afford four good mics instead of two, and the concertmaster
will let you clutter the room up, there's no reason not to set up
two pairs and decide later. Figures 2 and 3 show the ORTF
at the rear, and a pair of omnis with a Jecklin Disc closer in,
which will pick up more room-side reflections.
A compromise is to put two omnidirectional outriggers,
spaced two or three feet apart, on either side of the main pair.
You can record those, and then mix them in later to adjust the
room tone in post. I have never liked this approach either; it
always sounds like the tonality of the orchestra is changed
when I bring the outriggers up. Still, it has adherents, and it
can be another good approach when dealing with an unfamiliar room or a room where you can't put the stand where
you want it.
Either way, mix it... then take some time off and come back
and listen. It is very easy to use way too much artificial reverb
when you're home in the studio and don't have the room to
use as a reference. Spending an hour or so doing something
else can get you recalibrated to the point where you can hear
it again. If you notice the reverb, it's too much.

HANGING MICS? SPOT MICS?
You can hang microphones in many halls. There are various
kits for this from Neumann, Sennheiser, and Audix. The problem
is figuring out where you want to hang them. If you work regularly in the same hall for concerts or broadcast work, you might
want to hang microphones, just to keep them out of view of the

FIGURE

64

RECORDING August 2018

1

audience and possibly to free up seats in the hall that would be
otherwise used by a mic stand. But don't hang anything until
you know exactly where you want it, and don't hang it until
you've already heard a good recording made with a stand.
I mention above about how to bring up a soloist, but in a
pinch you can put a spot microphone on a soloist, record it
to a different track, and then delay it later when you mix it in.
The first issue here is that these instruments never sound the
same up close as they do when you get back from them.
The violin is a dramatic example, with a lot of the higher frequencies coming out from the sound holes but lower frequencies
radiating from the body. So if you put up a mic near it, you're
only getting a small part of the sound. But even with a piano,
a microphone a few feet away will get much more attack on
the notes than the main microphone back in the hall.
Another issue is time alignment. Sound travels about a millisecond per foot, so when you make the recording, you should
measure or estimate the distances between spot mics and the
main pair. I like to pace them off with my foot, since my shoes
are 11 inches long. Set the delay on the spot microphone to
be a little less than the time you calculated, then listen while
the soloist plays and increase the delay slowly. When it's
right, you'll hear it because it will abruptly pop into place and
the soloist will suddenly congeal in the soundfield. It can help
to do this with the solo mic turned way up, much louder than
you would actually use in a mix.
The third issue is that the spot mics do pick up leakage from
the rest of the orchestra, so when you bring them up, the tone of
other nearby instruments will change. Keep alert for this and if it
becomes a problem, bring them back down.
If you notice the solo mic, it's up too high. The advice about
reverb above also goes for this: stop and take a break, then
come back and see if the soloist level is right.

FIGURE

2



Table of Contents for the Digital Edition of Recording - August 2018

REVIEWS
Ears On: Focal Clear Professional.
Reviewed & Revisited: Daking Mic Pre II.
GIK Acoustics Gotham Quadratic Diffuser.
ART RM5 Active Studio Monitor.
IK Multimedia iRig Keys I/O.
Yamaha EAD10.
Soundware Showcase: Spitfire Audio LABS.
Vanatoo Transparent Zero Monitors.
Ears On: beyerdynamic DT 770 STUDIO.
Roland Rubix24.
Kludge Audio 506 Equalizer and 510 Transwarmer.
Once Over—Reviews In Brief.
FEATURES
10 Tips For A Successful Live Recording.
Studio 101. Part 8: Mixing, Part 1—Signal Flow.
“Girl You Know It’s...” A Lot More Than You Realize!
Live Orchestra Recording.
REGULARS
Fade In.
Talkback.
Fast Forward
Readers' Tracks
Fade Out.
Advertiser Index.
Recording - August 2018 - 1
Recording - August 2018 - Cover1
Recording - August 2018 - Cover2
Recording - August 2018 - 1
Recording - August 2018 - 2
Recording - August 2018 - 3
Recording - August 2018 - Fade In.
Recording - August 2018 - 5
Recording - August 2018 - REGULARS
Recording - August 2018 - 7
Recording - August 2018 - Talkback.
Recording - August 2018 - 9
Recording - August 2018 - Fast Forward
Recording - August 2018 - 11
Recording - August 2018 - 12
Recording - August 2018 - 13
Recording - August 2018 - 14
Recording - August 2018 - 15
Recording - August 2018 - 16
Recording - August 2018 - 17
Recording - August 2018 - 18
Recording - August 2018 - 19
Recording - August 2018 - Ears On: Focal Clear Professional.
Recording - August 2018 - 21
Recording - August 2018 - 22
Recording - August 2018 - 23
Recording - August 2018 - Reviewed & Revisited: Daking Mic Pre II.
Recording - August 2018 - 25
Recording - August 2018 - GIK Acoustics Gotham Quadratic Diffuser.
Recording - August 2018 - 27
Recording - August 2018 - 28
Recording - August 2018 - 29
Recording - August 2018 - ART RM5 Active Studio Monitor.
Recording - August 2018 - 31
Recording - August 2018 - IK Multimedia iRig Keys I/O.
Recording - August 2018 - 33
Recording - August 2018 - Yamaha EAD10.
Recording - August 2018 - 35
Recording - August 2018 - Soundware Showcase: Spitfire Audio LABS.
Recording - August 2018 - 37
Recording - August 2018 - Studio 101. Part 8: Mixing, Part 1—Signal Flow.
Recording - August 2018 - 39
Recording - August 2018 - 40
Recording - August 2018 - 41
Recording - August 2018 - Vanatoo Transparent Zero Monitors.
Recording - August 2018 - 43
Recording - August 2018 - 44
Recording - August 2018 - 45
Recording - August 2018 - Ears On: beyerdynamic DT 770 STUDIO.
Recording - August 2018 - 47
Recording - August 2018 - Roland Rubix24.
Recording - August 2018 - 49
Recording - August 2018 - Kludge Audio 506 Equalizer and 510 Transwarmer.
Recording - August 2018 - 51
Recording - August 2018 - 52
Recording - August 2018 - 53
Recording - August 2018 - 54
Recording - August 2018 - 55
Recording - August 2018 - 56
Recording - August 2018 - 57
Recording - August 2018 - “Girl You Know It’s...” A Lot More Than You Realize!
Recording - August 2018 - 59
Recording - August 2018 - Once Over—Reviews In Brief.
Recording - August 2018 - 61
Recording - August 2018 - Live Orchestra Recording.
Recording - August 2018 - 63
Recording - August 2018 - 64
Recording - August 2018 - 65
Recording - August 2018 - Readers' Tracks
Recording - August 2018 - Advertiser Index.
Recording - August 2018 - 68
Recording - August 2018 - 69
Recording - August 2018 - 70
Recording - August 2018 - 71
Recording - August 2018 - Fade Out.
Recording - August 2018 - Cover3
Recording - August 2018 - Cover4
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