199,046 users have contributed to 43,151 threads and 258,882 posts.
In the past 24 hours, we have 3 new thread(s), 10 new post(s) and 58 new user(s).
What is the project?
What microphones, mic pre-amp and tools do you have at disposition? Do you record the vocalist on a concert stage, or in a recording studio?
Recording of classical music is usually made by trained, real live engineers (not the fader pushers), guys who studied at university, have a solid theoretical understanding of theory and practice, and have the experience and the concepts for live balancing high quality recordings.
.
Nick,
When kermeo plans to write a short essai for a lecture about recording and mixing classical vocals, my last sentence is perfect to start with. But it will be difficult to make a close to reality text for a person without any experience.
If he actually want to do a recording of a classical vocalist, there are no fixed rules how to do it. Then he should initially mention what the music is, i.e. Vivaldi, Delibes, Monteverdi. By what is the vox accompanied, what is the composite of the ensemble, i.e. chamber orchestra, a duo with piano, an orchestra. Is it a male vox, female vox, or mixed choir. Is the recording done in a concert stage, what are the dimensions of the room, recording in a church, in a recording studio. Then it starts to make sense going into details.
:)
Don't take anything I post too seriously, Angelo. It's certainly not that I disagree with anything you say - I just understood kermeo was planning on making a recording; telling other people how to do it when you've never tried is a slightly different problem. :)
And of course I know Bruce Swedien. He's very good, and he has no shortage of interesting ideas - the famous expensive mono mic technique, etc.
@kermeo said:
.... for the one which is in the direct line of the vocalist, would something like an AKG C414 be appropriate?
There is nothing you can do wrong when you recording the vocalist with a single microphone in mono to a single channel, just put the single mic in front of the singer and hit the record button. There is one thing which could affect your vocal mono recording done with a pressure gradient microphone, that is the so called proximity effect, also known as bass tip-up.
and
NEVER RECORD A LEAD VOCAL ON STEREO !!!!
.
The fun part about recording is that everyone has different ideas - which is what makes it an art. As I said, I'd actually be inclined to record a classical singer with one spot mic and stereo room mics (if the room or hall is up to it).
And while I haven't ever recorded a pop voc in stereo, I almost always create walls for it in the mix (with stereo hard-panned delays at about 15 and 40ms). So you could make an argument for trying the same as above instead of the delays. But of course you want a more intimate sound with the mic a lot closer for a pop voc.
Hi kermeo,
I just finished a short recording session a few days ago. The mic used for the soprano was a Schoeps MK2 (flat response), the pre was a Great River MP-2NV. It was positioned at mouth level, ~ 50-60 cm from her if I remember well. Most important is WHERE you are doing the recording, and WHERE you put the mic (and the singer of course). Find a good place with either a good natural reverb, or a neutral print (no reverb but some ambiance) if you want to add reverb later. For pop/rock the mic is usually a cardiod, very close to the mouth, but for classical I prefer some distance, some air in between with an omni mic. hope this helps.
"the pre was a Great River MP-2NV. It was positioned at mouth level"
I've also found that all the way in the mouth is appropriate for a lot of singers. Just make sure to take it out of the rack case if you're using one.