Klarinet Archive - Posting 000092.txt from 1994/11

From: Kerry Roebuck <roeb7610@-----.CA>
Subj: Recording a clarinet
Date: Fri, 4 Nov 1994 14:48:59 -0500

Before I delve into my ideas for the recording of a clarinet, I wish to
introduce myself. My name is Kerry roebuck. I've been playing the
clarinet for almost 11 years now. I began lessons in Trinidad, then I
moved to Venezuela, and now I'm at Wilfrid Laurier University, studying
under Pauline Minevich. I play on a Selmer Recital, V12s, bonade reverse
lig., and Selmer C85 120 mouthpiece (2 months old).

I think that one vocal mic cannot do justice to the colours, movement,
and volumes that we produce. When we play, we sometimes move (I move a
lot actually) and this will cause the in-out effect in a recording. Some
singers, like Whitney Houston, use this to help pad their hi, loud notes,
and enrich their low soft ones by moving it closer and further aways from
the mouth. However since the clarinet tends to move left-right instead
of forward-backward, then the result is a bit less pleasing.

My solution, experimental at this stage, is to use 3 semi-wide angle
mics, positioned in a semi-circle in front of the player, with 2 wide
angle mics to the left and right up high. The 3 mics should be panned to
centre and the 2 to left and right. the result is that of recorded
piano, where the listener hears the live sound from the strings and sound
board coupled with a sense of room or hall sound from the high mics.

This should work in rooms from 600 sq. ft. and above. For smaller rooms,
electronically added effects may be used.

For a simple micing job...well...it should be just that, one mic,
semi-wide angle preferably, just above the height of the bell, about 1.5
to 2 ft. away.

Does this make sense?

Kerry Roebuck
Wilfrid Laurier University, Waterloo
884-1970 ext.2152

Meetings are indispensible when you don't want to do something.
-John Kenneth Galbraith