Classical recital which mic combinations?

S

sbendy

New member
Hi,
I am newish to this kind of recording. I am recording a recital in a circular, hard surfaced room, 17 meters in diameter, with a domed cieling.
The recital will consist of a several small ensembles, largely vocal, some stringed (and maybe other) instruments.
I have an AKG C414 XLS, I would like two more microphones in order to capture more detail. I'll likely have access to another two XLSs or two Neumann TLM 103s. Which would be better to go with? (There will be a variety of vocalists throughout the night and possibly in combination).
I am also not too sure of the best set up. I figured I would use the single XLS on omni as a room mic (but not yet sure of location as I'm unsure where the musicians will be). And the pair of microphones positioned up closer to capture various parts of the ensembles in greater detail.
 
The 414s are ideal. You need to do a bit of research on stereo techniques. A mono Omni and two others will sound quite strange unless you do a lot of work, and even then, it will fight with you. For capturing an ambient recording in a problem space you need a bit of experience. I was at a place the other day with a small stage area with a circular curve to the audience space, a balcony had the same curve. As I was wandering around I mentioned that we'd need the PA system turning off. It isn't on? was the response. There was a spot, at a kind of focal point where all the reflections converged. It sounded much, much louder, just in that spot. It was around two feet wide, right in the middle. Putting a mic there would have been disastrous.

If your space sounds good, the most suitable beginners technique would be two of your mics in an X/Y configuration. You could also try a M/S technique, but you then need to set up your system to dematrix it. You even have enough mics do try a decca tree, but frankly, stick with X/Y.

This assumes your ensembles have a good internal balance, so sound good in the room. If you have problems here, you could use e third mic to try to fix it. Maybe a string quartet with a weak cello? In this case, X/Y with a focussed mic that can help the cello might work, as long as your ears are good for blending it. Stereo recording is all about levels, direction and time aligning. Adding the cello mic can easily destroy the stereo field if you get it wrong. Spot mics are a beginners nightmare.

My own checklist, in order of importance would be:
Space
Quality of performers
Mic configuration and placement
Mic choice to suit above

What is the recording actually for? This changes things a bit, and maybe allows compromises. One thing to put on your list is a room for your equipment. You really should monitor on speakers, headphones will not guarantee the stereo field is working, making mic position adjustments difficult. A small room will be sufficient, with speakers in the near field. I'd also perhaps think about a simple video link too. If you are familiar with the sound of commercial recordings of this type you need hard work to get to that standard.
 
I would checkout the room very carefully as a circular room with a domed ceiling could cause LOTS of problems with standing waves and focussing.

Microphones will need to be VERY carefully placed, whichever you choose.
 
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