best on-hand mic pair for a small chamber orchestra

P

Pony!

New member
Hey guys,

been a while since I posted here. Anywho, a friend of mine asked me to record and provide reinforcement for his senior recital. For a couple of pieces he has hired a small 4 piece chamber orchestra. I've thought about doing up an XY of either my c1000's (which get such a bad wrap, but I've always had good results with. It could be that I don't use the headbaskets), or a pair of v67's. I also have a few decent single LDC's I could use as well. I've got an m-audio sputnik, a studio projects C1, or KSM32 I could use in mono up above them.

The chamber orchestra is a cello, viola, and 2 violins setup in a U shape.
 
I'd use the C1000s....as door stops while you're taking your equipment into the room.

For the actual recording, I'd certainly go for an X-Y which means using the V67s which, if I read correctly, are your only other pair. An extra mono source up above never hurts...I have no strong feeling between the C1 and KSM32.

Bob
 
hahahaha, I really truly love the outpouring of hate for the c1000's and the d112. But, I always get very workable and sometimes preferable results with my c1000's. I've always chalked it up to the fact that I got mine used and they didn't come with the headbaskets.

I'll probably go with the v67's. Thanks guys. As for the mono track up above the pair; track count is an issue. I'm topped out at 16 channels. On top of the chamber orchestra I've got 2 guitar, an acoustic, 1 horn, vocalist, full drum kit, and an organ.
 
I'd use the C1000s....
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:eek: :drunk: :spank: :confused:

as door stops while you're taking your equipment into the room.
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Oh -- Okay, that makes sense.

I've read about a technique where you take a small sledgehammer to the grille and carefully smash the [SELF-CENSORED] out of it (gently, of course) until it resembles a wedge -- The final product resembling a giant watercolor brush but with no bristles.

Long story short, I've heard this makes the C1000S a much more effective doorstop than a stock C1000S. I've not tried it myself, but the physics behind it seem pretty reasonable.
 
Any chance to do a test recording of the chamber group in the recital hall prior to the recital (during a rehearsal perhaps)? You could set up both pairs of available mics and decide what works best.
 
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