Many
have asked us for a “tutorial” series on large-ensemble acoustic recording.
Perhaps the best way to convey the performance of different recording techniques
is to simply listen and compare. This is the first in an occasional series of
real-world recording discussions and audio examples from Millennia Media.
We’ll be listening to samples from a live performance of Handel’s Messiah by the
American Bach
Soloists. The ABS, playing on period instruments, is among the world’s
finest “baroque style” orchestras. A mix of this recording was released on the
Delos label (DE-3360).
Rarely (if ever) in my audio career have ALL the ideal acoustic production
elements shown up in one place: a truly masterful performance in a world-class
recording space captured with extremely realistic engineering techniques.
Producer and Music Director
Jeffrey Thomas has allowed the “intangibles” to flourish: organic, human,
visceral qualities that are so often lacking in "overly formal" acoustic music,
especially Messiah readings. This recording seems to have it all. Choir dynamics
and intonation are stunning; ensemble pacing and phrasing is masterful; choir
and orchestra gel as one living instrument.
Twenty microphones were arranged on stage (mic
chart). We’ll be comparing the acoustic properties of multi-mic versus
two-mic recording technique. The main stereo microphones heard on these
recordings are a pair of
Josephson 617 bodies with
Gefell MK-221 omni measurement capsules. Recorder is a
Radar S-Nyquist sampling 44.1 kHz @ 24 bits1. A quad of 130 volt
DPA 4012
mics are positioned on choir. All mics are fed to
Millennia micamps. Mixes
were produced on a
Sequoia v8 workstation. Word length reduction (24 to 16) is via
POW-R #3. Stereo pair recordings are unprocessed, straight from RADAR,
natural room reverb.
The main stereo mics were fixed 290cm above stage floor, spread about 45cm wide,
pointed about 45 degrees off center (left and right), and pointed about 20
degrees down from stage parallel. This effectively splits the orchestra for even
acoustic coverage – recall that omni mics are not omni-directional at all
frequencies, hence point does matter.
The
DPA 4012 high voltage mics were stationed evenly about the choir 340cm above
stage floor, with choir on risers. Point was nearly straight down into the heart
of each choir section and slightly to the choir’s front.. Vocal soloists
(Daniel Taylor - Countertenor, etc.) used Josephson 606A-KM25 hypercardioid
mics. Mics were placed about 70cm in front of vocalist, about 30cm down from
mouth height, and pointed up appropriately. Mics were placed down from mouth
plane not for sonic purposes but to give better audience line of sight. Ideally,
we would want to be tighter on axis.
Here are comparison audio examples of the identical performance captured with
raw two-mic and mixed multi-mic techniques.
The debate over “pure” stereo orchestral recording versus multi-microphone mixes
has raged for decades. Here’s a rare opportunity to hear both simultaneously as
a controlled experiment.
We all know examples of poorly executed examples in both “purist” and “mixed”
categories. Often, two-mic recordings employ widely spaced (Large AB) omni’s,
offering a tremendous sense of orchestral spaciousness, but sacrificing accurate
stereo imaging and stage placement. Conversely, coincident two-mic orchestral
techniques (XY) can deliver exceptional spatial imaging, but often at the
expense of a flat and lifeless ambience and loss of depth.
In this Messiah production, we chose closely spaced omni microphones (Small AB)
as our main stereo pair. We find that this is often the ideal “tradeoff” between
orchestral space and imaging. Even though we had numerous mics open, I estimate
that >80% of the mixed program remained on these two microphones. Alas, this is
often a hallmark of convincing mixed orchestral recordings – spot mics are used
gently and sparingly, like spice.
Some of the finest contemporary examples of mixed orchestra are found in the
motion picture industry. Today’s leading movie scoring engineers include
Shawn Murphy,
Bob Fernandez,
Simon Rhodes,
Dennis Sands,
Steve Kempster,
Armin Steiner, Alan Meyerson,
Michael Farrow,
Frank Wolf, and
John Rodd. Record companies, such as Telarc International, are also making
fine multi-mic recordings, with engineers like
Michael Bishop,
Jack Renner, and
Tony Faulkner leading the way.
This of course brings up the subject of “Surround” orchestral recording, a topic
that will hopefully be covered in future discussions. Please let
me know if you have any questions about this recording, or suggestions for
future discussions and audio examples. I will get back with you. Look for more
tutorials in the future – including comparisons of our recordings with:
- Russian National Orchestra
- Academy of St. Martins in the Fields
- China Philharmonic Orchestra
Tour the
Mondavi Performing Arts Center
John La Grou
Millennia Media, Inc.
California, USA
1 To our ears, the RADAR S-Nyquist
recording system achieves optimal sonic
results at 44.1 kHz or 48 kHz sampling rate
and 24 bit word length.
Music excerpts ©2005 American Bach Soloists
All Rights Reserved
