First, a little background about myself. I've been making
recordings since about 1967. When I was in school I had a small
business recording recitals, audition tapes (we used tape in
those days ), and the like. My most recent recording was an
audition CD for the Cleveland Orchestra. ("My" guy didn't win the
audition, alas.) No one has ever complained about the sound I got.
I have given serious thought to re-starting this business when I
retire. I like to make recordings.
In sum, if I could play as well as I can make records, I'd have
had a major career.
Michael Ozment asks:
>
Lately, I have been trying to record myself more and more. I want to move
beyond just recording my practice sessions with a mini disc and a small
microphone. I have asked dozens of "recording" people about mics and variou=
s
recording equipment, but it just occurred to me that I should be asking
HORNISTS.
You should ask people who have experience recording *classical*
music. Recordings of classical music try to make the recordings
sound as much like concerts as possible. The pop aesthetic, with
which many engineers are most experienced, is just the opposite:
they try to make the concerts sound as much like the records as
possible.
**THE** most important factor in getting good sound on a classical
recording is the hall. If you don't have a good hall, just forget
it, no matter how good your equipment. This is 85% of the result,
no exaggeration. Microphone placement is probably the next 8%.
Mike choice is about 5%, and the remaining 2% is *everything*
else: tube vs. transistor, analog vs. digital, cable type, etc.
I'd much rather record in Carnegie Hall with a Radio Shack
cassette recorder and a pair of EV 635A's than in my (or your)
living room with any megabuck German mike you can name. There
just won't be any comparison.
What kind of mic do you use when recording yourself?
If your only or principal use is to record your practice sessions,
the mike you have now or some other cheap electret is probably
more than adequate. If you're unhappy with what you have, I
suggest trying a pair of Radio Shack 33-3013 lavalier mikes. They
cost about $25 each, and you'll need an adaptor, also available
at the Shack, to convert their 1/8" miniplug output to the stereo
1/8" miniplug your minidisc will expect. If you don't like them
you won't be out much.
I've used the Radio Shack 33-3013 to record myself. They work
fine. Mostly I use Neumann KM184's to record my practice
sessions, but that's because I have them, they're easy to set up
(read: don't need external power supplies), since I don't much
like them I wouldn't shed too many tears if the stand got knocked
over or a pipe leaked on them (I practice in the basement), and,
frankly, why not, since I have them?
Or what kind of mics
have been used to record you in studio situations? Specific brands and
models would be more helpful than just "dynamic" or "condenser" Also, what
is the optimum mic placement for recording a solo horn?
OK. Here's my list, in approximately ascending order of price.
Please note that there is no one right microphone for any
purpose, any more than there is the One True Horn or mouthpiece.
Also note that I've had all the equipment I own for ages and so
I'm not exactly up to date with prices; you'll have to do some
research on your own. Taken as a whole, dynamic microphones will
have lower output and worse transient response than real (i.e.,
not electret) condenser microphones. If you're using a minidisc,
a condenser mike's output may overload the input (it doesn't on
my Sharps, but you should check yours to be sure).
In general, I prefer omnidirectional (aka omni, aka
non-directional) mikes for recording classical music because they
pick up more of the room sound. For unaccompanied horn you can
space them about 16" on center, just like the studs in your
walls, and get good results; for larger ensembles, like bands or
orchestras, dividing the group in thirds with the mike stands is
a good rule of thumb and first cut. How far back to put them
depends on the hall. Position them to get the balance of direct
vs. reverberant sound you (or the client!) like. You're doing it
to your (or the client's) taste, and when you're happy, the sound
is "right." There is no other right or wrong about it! Get a pair
of Audio-Technica clothespin shock mounts and use them on
everything but the Radio Shacks (which are too small to fit).
All the mikes listed below have balanced output (3 pin XLR) except
the Radio Shack 33-3013.
Omnis:
Radio Shack 33-3013: $25 each. Electret condenser. Requires a
button battery for operation. Low current draw, so the batteries
will die of old age before they run down. Very small, about the
diameter of a pencil eraser.
Electrovoice (EV) 635A: $100 each. The quintessential ENG mike
that you've seen on TV a zillion times. Indesctructable except by
direct nuclea
