On recording day, the team arrived at the venue approximately 2 hours prior to the performance. This allowed enough time to set up, find levels and tweak our equipment before the performance.

We decided to use a pair of Neumann K184's and a pair of DPA 4011's to be able to capture both the raw sound of the orchestra, the vocalist and the specific resonance of the venue.

It was decided that the two Neumann K184's would be the centre pair, and the DPA's would be the side microphones, using this combination, instead of trying to achieve a sound spectral image, we aimed to achieve it within the recording process instead. With the Neumann's at an OTRF position and the DPA's at an on axis position also with a slight downward angle. To achieve this, the two DPA microphones were also placed around 4.5 to both the left and right of the centre microphones, flush with the edge of the stage.

They were then connected into a multicore which ran along, flush to the edge of the stage. To control the signal we used a Focusrite Clarett 8, then Pro Tools 12 which was being used on a MacBook Pro.

The entire process for the night went really smoothly, and fortunately we had no hiccups. The team was mainly focused on keeping an eye on the dynamic ranges of each song. We did, however, have to focus on the balance between the left and right sides of the orchestra due to the opera vocalist in the loft as well as having a harp, piano and heavy brass, and a double bass on opposite sides of the stage

Avid Technology Inc. published this content on 09 January 2018 and is solely responsible for the information contained herein.
Distributed by Public, unedited and unaltered, on 09 January 2018 14:49:10 UTC.

Original documenthttp://www.avidblogs.com/classical-temptations-recording-editing-mixing-and-mastering-a-wind-orchestra-with-pro-tools-and-s6/

Public permalinkhttp://www.publicnow.com/view/CDEDCC2062F6A185D88C99FE08A42ED4E06B6DEB