Live Recording

[brian brilliant]

Actually I think that this is the wrong forum, but I didn't get any answers on the tips and techniques one:

I am looking foward to do a live-recording of a jazz-ensemble in a small venue and I am unsure about the optimal miking of the event. I did a few live-recordings before but mostly of bigger events with having my recording setup connected to the direct-outs of the FOH-console. This time it is another approach as I would like to pick up more the ambience and the atmosphere of it all together not just the tracks for later overdubbing. It's more the classical recording-style I guess.

I think I've got the necessary microphones and equipment to do it but not the knowledge to set it up in an optimal way.

My first suggestions: I think a DECCA-tree would be oversized as there are just five instruments (double-bass, sax, trombone, guitar, drums) and I don't really see the advantace in using a MS-microphone setup. So I thought setting up two Octavias, I usually use for overheads, more or less in the middle of the audience directing to the left and right corner, taking a Brauner Phantom to the very backside of the room to get all the reflections and using some pad-mikes for the brass and a SM57 for the guitar, probably even getting a D112 for the kickdrum if it doesn't cut through enough.
To optimize the miking we have about 3-4 consecutive live sessions in two months time.

Does anyone of you have more experience with that kind of recordings? What do you think?

Thanks in advance for your expertise.

Stefan

[brian brilliant]

bump

[Neesley]

M/S is really the way to go.

First advantage is just one mic stand and cable. I use a Schoeps set-up with a AMEK 9098 preamp with M/S decoding all the time with full orchestra to small ensembles just like you describe.

Here's an example of one of my set-ups although I mostly use a minature version of this that's not avaialble anymore.

Second advantage is that it's really hard to make a rotten sounding recording, especially when you don't have a lot of time to set-up and test.

[BRH]

Neesley said it good. IMO the 2 octavas should be on a stereo bar right in front of the group, not too high. Halfway back in the audience is too far back. You won't need the mic at the rear of the room for reflections.. you will have plenty of that already.

[brian brilliant]

Thank you very much for your answers. Which figure-of-eight microphone would you recommend or do you think that it is possible to use the two Octavias as side-mikes and the Brauner for the mids? If it works should I direct the Octavias in orthogonal to the mid-mike or wouldn't something about 45 degrees be better?
Sorry if this is a stupid question but as I said I never did that kind of life-recording before.

[Mikeren]

Hi,

I would and have (assuming MK012, you didn't specify) used the Oktavas stereo X/Y. Spaced Omni is also an option if you have the capsules.

If you want to use the Brauner for ambience, I would keep it near the Oktavas but facing the audience...If it's in the back of house the delayed direct sound may not set well. Don't try and throw it into the stereo field, whatever your setup.

You can find a lot of stereo mic'ing info. by searching on-line. M/S will require decoding/processing but will allow you to adjust you stereo field after the fact. You wouldn't likely get proper results using 2 mics for the figure-8.

I also second the point of not mic'ing at a great distance. Start by walking out from center stage and listen for the point where everyting seems to gel sound/mix wise. Record/check placement there, if you can. Your mics in this situation are simply representing your listener's ears. In the best seat in the house--soundwise...

MR