yeah, I for one would like to know the type, position, and proximity of every mic used on each instrument. And where the instrument sat in teh room too.
Evan Evans
I know you are joking.
/Dietz
/Dietz - Vienna Symphonic Library
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easy, dietz, we should think about this subject without any ruffle. this seems to be a new market for us. we could sell pictures from our markers on the stagefloor, copies of our recording manuals, herb could release an edition of signed backup-tapes, i should write a book reporting the conversation-highlights with the musicians, you, dietz, are in pole position to produce a DVD showing all the demo-mixing (slow motion, of course).....this list could be continued endless. [[;)]]
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@michi said:
easy, dietz, we should think about this subject without any ruffle. this seems to be a new market for us. we could sell pictures from our markers on the stagefloor, copies of our recording manuals, herb could release an edition of signed backup-tapes, i should write a book reporting the conversation-highlights with the musicians, you, dietz, are in pole position to produce a DVD showing all the demo-mixing (slow motion, of course).....this list could be continued endless. [[;)]]
Michi, you're supposed to be on a vacation, aren't you? [H]
/Dietz
/Dietz - Vienna Symphonic Library -
Guys, I wasn't joking.
I was serious. And furthermore, if you think that's a joke you should reconsider what you need to be serious about. These are important issues in creating great music. take aliten to my music sometime to hopefully understand how serious I am.
Anyway, CM responding with the general info that everyone has already read does nothign to help me compensate via EQ, stereo width and phase tweaking in order to make these instruments sound as pure as possible. I was hoping tthat you all understood I was referring to something like diagrams from aq bird's eye view of each instrument's setup.
You know they exist! How did you get the players back for further sessions and make them sound the same?
All that said, I can take a joke and am not offended. [:)]
Evan Evans
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EE, can you explain what you mean about how the mic choices and positions are going to help you make eq and stereo width decisions?
Seriously! This looks like an interesting argument! (Although it probably belongs in the Mixing area.)
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Evan's question is legitimate.
It makes a world of difference if you used an SM-7 instead of a U-87. For eq sake and mastering, you do have to know the quirks of the mics used and how to correct for their shortcomings.
Jon
"Now here it is, your moment of Zen..."
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I'm afraid that for me it doesn't work that way, Jonathan. It would be great if you could just say, "U87? Ah, eq preset #7,592,622! Voilà, now it sounds perfect!"
In reality, countless other factors make up the sound, for example the actual instrument being recorded and how it was played, the environment, the distance from the mic(s), preamps, cables, eq, compression...and on and on.
That's why I snort loudly at digital mixers' eq and compression presets ("please to use on bass drum for funky-ass sound")!
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Here's the list from cm's link again:
[list:3134aead7c]Schoeps Serie Colette Microphones:
[list:3134aead7c]CMC 6
BLM 3
MK 2 S
MK 4
MK 21
KFM 6[/list:u:3134aead7c]
Millenia Media HV3D Micpreamp
Daniel Weiss ADC1 MK2, 24/96 AD Converter
[/list:u:3134aead7c]
***
To put it clear and explicit -
I think everybody should understand that we don't have to provide all the detailled know-how we are working on since years to the public. [And this is not for mystifying anything, Mr. Evans.]
To select a pair of microphones for a certain instrument, to find the perfect position for a myriad of its performing facets, while still keeping it in sonic balance to all those other instruments is _very_ demanding work.
To imitate it is simple. Too simple.
HTH,
/Dietz - Vienna Symphonic Library
/Dietz - Vienna Symphonic Library
