Can anyone advise on mixing flute

sonicyouth

New member
Recording on pretty good dynamic, quite low compression to start with. Problem seems to be eq, sounds very harsh, not so much raspy, just harsh and quite violent, it should be more mellow

Any help appreciated!

Cheers
Mark
 
I would recommed that you record something like that on a condenser mic. The reason you may be getting the harsh sound is because you have to get so close to the mic to get any volume.

Of course this is my opinion..
 
I agree with Scott's assessment. Instead of reaching for the eq, I'd play around with mic placement--maybe try micing from above the finger holes from about 18".
 
Keep in mind that flute's really hard to record well even if you have a good mic and a good room. I've tried, and haven't even come close. Last time I tried, I put a good large diaphragm condenser about a foot above the flute. Next time, I'm gonna put the same condenser right beside my head. I want to record the sound that I hear when I play. Really tough to get that sound...
 
Tried putting a piezo on it?

Somewhere near the blow hole - but I'm talking bamboo, and live. I used one piezo and two mics, one above and one from behind the flute - small dynamic, nothing fancy - it was a little live concert, about 100 people - so my way may not be valid but I guess it sounded good.

Or maybe it was the playing and the music...
 
Interesting. How far away from the flute were the two mics?

When you mixed it, what were the proportions of each source?
 
For flutes, I like a good dynamic more than a condenser. This is one of my favorite uses for the MD441. Flute is a rather harsh sounding instrument. What I always find helps is the right reverb. Somthing with a long predelay, and a long decay time. Play around with the high and low pass filters until you like the sound. Depending on what else is going on, You may want to roll off a lot of low end on going to the reverb. I will often roll of quite a lot below 400-600 Hz, and above about 8 kHz, going to the reverb. You have to be careful, though because this can become muddy.


Light

"Cowards can never be moral."
M.K. Gandhi
 
dobro said:
Interesting. How far away from the flute were the two mics?

When you mixed it, what were the proportions of each source?

The first mic was behind the blowhole - this is an Indian Bamboo flute, not quite the metal Jethro Tull flute - at about 4" but the distance was obviously not constant during the concert.

The second mic was directly in front, but at about 8" away. I unfortunately don't remember the final mixing proportion, didn't document it as we kept fiddling with the faders but I remember there being quite a lot of piezo with a mid and top end boost mixed in with the dynamic mics - mics were picking up a lot of wind noise so we had cut back heavily - pop filters/wind shields (those round sponge thingies) did help but not much.
 
Firstly you can use high quality dynamic mic like sm57. or you can use condenser.. its on your requirement. flute timber is from 500 to 2k hz. find it on frequency analyser. and cut the lows. you can boost the highs if there is no instrumen
t on high frequency
 
First - is it a flute, as in a concert flute, made from metal or wood with a mechanical action and a blow hole and lip plate, or a flute that is really a recorder type instrument. The two share a name, and totally different science!

One type has a permanent labium to split the airflow, and is an open ended cylindrical bore instrument, the other type being a cylindrical tube with a closed end, excited by blowing across a hole.

Recording the 'recorder' type instrument works nicely with a condenser slightly above and looking down on the instrument, while the transverse flute has quite a few problems in the recording department. Where you stick the mic, let alone it's type changes depending on the direction. In stream placement gives that windy and breathy sound, while looking down gives a more consistent sound but often a bit thin.

The worst thing is the damn clacking some flutes make. The pads that go down to seal the holes can do it with quite a speed, and they can be noisy. When the keys are released, it's common to find the little soft pads to stop the over-travel, are less than soft and they make a noise too. To make it worse, many players do not let their fingers rest on the keys, ready to depress them, they keep them above, and seem to fire them down. The flute I have here records dreadfully because it's not had a service for a while. In the room, not too bad, but the mics, especially those with decent amounts of top end, pick it up very easily! Oh yes - and some players cannot stand still!

All this makes compression extremely tricky, and I often avoid it unless I want the breathiness exaggerated.
 
Firstly you can use high quality dynamic mic like sm57. or you can use condenser.. its on your requirement. flute timber is from 500 to 2k hz. find it on frequency analyser. and cut the lows. you can boost the highs if there is no instrumen
t on high frequency

Necro thread award of the week - 13 years old!
 
Well since this thread has been resurrected anyway. . . I've had my wife play on a couple recordings, it turned out fine using a LDC a few feet in front of her, mic aimed at the front/middle of the flute. It needed quite a bit of verb and (in the box) tuning to get it to work. The intonation on that particular instrument was not real good. No eq that I remember. I think I double tracked it.
 
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