Linda writes:
>
Now I'm trying to research mics but am at a loss. I
don't know anything about the technologies and am not sure of what specs
to look for to record in a range of situations--from horn alone to full
orchestra.
The standard college-level text on recording is John Eargle's
Handbook of Recording Engineering. There are at least four
editions, from 1986-2003. For your purposes any edition will be
equally good.
You can skip the math and cut straight to the discussion of
microphone placement for various purposes. Nothing much has
changed in that area of audio since Blumlein's stereo patents of
1932 or so and the Bell Labs experiments of about the same time.
Since your PMD 671 has 48V phantom power (and we'll assume--and
hope--it meets the DIN standard and actually puts out 48V @
10mA), I'd suggest you get some condenser microphones. I recently
bought a pair of Behringer B-5's, and, so far, like them quite a
bit. (Ask me after Aug. 13, when I should have a chance to try
them on demanding material--an organ--in a good hall, not to
mention compare them to the "high priced spread," which is what
we're going to use for the real recording.) I got mine for $70
apiece from Midwest Stereo:
http://www.midweststereo.com/catalog/Screen=PROD&Product_Code=BEHB5&Category_Code=
They have both omnidirectional (picks up sound from all
directions) and cardioid (picks up sound only from the front in
sort of a heart-shaped pattern--the name comes from the same root
that gives us cardiology, et al.) capsules. So far I think they
are pretty neutral sounding. Get a pair of Audio-Technica AT8410
"clothespin" shockmounts (see
http://www.fullcompass.com/product/304073.html) to mount them;
they *will* pick up feedback from movements on the stage through
the stands without them.
Q&D rules of thumb ways to record things:
Spaced omnis:
For large groups like orchestras or bands, divide the group in
thirds with the mike stands. Alternatively, put a microphone even
with the concertmaster and whoever's on the RH side in the
analogous position (principal 2nd fiddle? principal cello?).
For small groups like string quartets, woodwind quintets, soloists
with piano, or even small orchestras, place the stands 16-20" apart.
Start with them three feet back from the ensemble. Move closer if
there's too much room sound; move backward if whatever you're
recording is too "in your face." Adjust according to your (or the
client's!) taste; there's no other right or wrong about it.
See http://www.dpamicrophones.com/page.php?PID=122
Cardioids:
Get an AKG stereo bar (see
http://www.fullcompass.com/product/299818.html) and mount them in
a near-coincident array (ORTF or NOS). ORTF spaces the capsules
7" apart and splays them outward 110 degrees. See
http://www.dpamicrophones.com/page.php?PID=128
NOS uses 30cm (about 12") and 90 degrees. See
http://www.dpamicrophones.com/page.php?PID=125
In both cases you can eyeball the distance and angle unless you're
making the recording for French or Netherlands radio.
With cardioids I'd start with the mikes 6-8 feet back from the
performers, and then adjust according to taste as with omnis.
For omnis you'll need a pair of Atlas MS-10 microphone stands (see
http://www.fullcompass.com/product/298536.html) or equivalent.
You can get extensions for the MS-10's that will get them up
around 8-10 feet high. I don't have the patience to navigate
through Full Compass's web site in order to find them. In most
cases you'll probably want the mikes as high as you can get them,
but as with placement, experimentation is A Good Thing. All the
microphones mentioned in this post are light enough to use on an
MS-10 without worrying about the stand falling over from the weight.
I think the Behringers sound better (esp. in cardioid) than the
other often-recommended "cheap" condensers, the Oktava MK-012.
They also cost less, and, if you don't like them, you aren't out
a lot. The sky's the limit with microphones. A stereo pair of
some models will cost as much as a new car, and a stereo pair of
ELA-M 251's will cost as much as a very nice new car. Lawsons,
Lewises, et al., are cheap by comparison <g>.
The last thing you'll need is cables, lengths that total two 100
foot lengths (e.g., four 25 foot lengths) with XLR connectors on
each end. I suggest "star quad" (Canare L4-E6S or suchlike) in
orange (for visibility). Unless your time is worthless and you
like the frustration of working with shielded cable, buy them. I
can get you the name of a place that will build them to your
exact specs. (Can't remember the name offhand.)
Overview of stereo techniques:
http://www.dpamicrophones.com/page.php?PID=131
Great book on how microphones work and why they work that way
(cited in Eargle and just about every other book on recording):
http://www.neumann.com/download.php?download=docu0002.PDF
My leading suggestion for one-size-fits-all,
hard-to-mess-up-really-badly recording for beginners would be
ORTF. There are situations (e.g., the organ recording I'm making
on Aug. 13) where this would be a terrible approach, but for most
things it'll yield satisfactory results with minimal fuss.
I have no affiliation at all with DPA (they just have nice & handy
explanations on their web site), and my affiliation with Full
Compass, Midwest Stereo, and Neumann (note alphabetical order) is
only that of satisfied customer.
HTH.
Howard Sanner
[EMAIL PROTECTED]
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