gutturalpiss
New member
I figured I'd venture into the orchestral arena as it poses more of a challenge, personally. However, I'm going in totally empty-handed. All the production knowledge and techniques I've gained both formally and informally have been based on recording direct sources, i.e your typical records. Never once have I considered or even thought of recording orchestras/ensembles. I can still apply some of it, but it's a different game entirely IMHO.
If you have experience in this field, especially recording ensembles of traditional instruments (eg. SCO), please do share the following:
A1) Miking techniques you have used
A2) Mics you have used (especially in a budget scenario)
A3) Mixing specifics (where it's not apparent/used for other kinds of records)
I don't do "real" mastering aside from working in-the-box with multi-bands and levellors, so there's no need to talk about that.
Since we're on this topic, let's see where in the sound field you'd like to be with 5.1:
B1) Front of stage:
L-C-R as usual provides the frontal image, captured with a Decca, ORTF, or XY. LS-RS is captured with a crossed pair further back down the hall, and the surround is basically a reinforcement with some solo parts dumped in (spot-miked). Various other techniques exist but generally, the LS-RS mics tend to be at the back of the hall.
B2) Middle of orchestra:
I don't know if this is even sane. But I personally am deploying a similar project. LS-RS is now at the back of the orchestra, instead of the hall. ORTF facing the wall from middle of the stage. Essentially, LS-RS would provide the bulk of the winds, strings, and percussion, while the front would cater to the rest and a little of the overall stereo. With some multi-band tricks, the sections can be mixed separately. I haven't tested this, so shoot if you find this to be dangerous.
According to a survey, percussion coming from the back is irritating. Well, I'd like to move some to L-R and keep some at LS-RS. Would YOU mind timpanis from the back of your head? =P
And yes, if you have interesting links to articles/samples of such records, please share. I'm particularly interested in videos, not tutorials but documentaries. YouTube has failed me.
If you have experience in this field, especially recording ensembles of traditional instruments (eg. SCO), please do share the following:
A1) Miking techniques you have used
A2) Mics you have used (especially in a budget scenario)
A3) Mixing specifics (where it's not apparent/used for other kinds of records)
I don't do "real" mastering aside from working in-the-box with multi-bands and levellors, so there's no need to talk about that.
Since we're on this topic, let's see where in the sound field you'd like to be with 5.1:
B1) Front of stage:
L-C-R as usual provides the frontal image, captured with a Decca, ORTF, or XY. LS-RS is captured with a crossed pair further back down the hall, and the surround is basically a reinforcement with some solo parts dumped in (spot-miked). Various other techniques exist but generally, the LS-RS mics tend to be at the back of the hall.
B2) Middle of orchestra:
I don't know if this is even sane. But I personally am deploying a similar project. LS-RS is now at the back of the orchestra, instead of the hall. ORTF facing the wall from middle of the stage. Essentially, LS-RS would provide the bulk of the winds, strings, and percussion, while the front would cater to the rest and a little of the overall stereo. With some multi-band tricks, the sections can be mixed separately. I haven't tested this, so shoot if you find this to be dangerous.
According to a survey, percussion coming from the back is irritating. Well, I'd like to move some to L-R and keep some at LS-RS. Would YOU mind timpanis from the back of your head? =P
And yes, if you have interesting links to articles/samples of such records, please share. I'm particularly interested in videos, not tutorials but documentaries. YouTube has failed me.
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