Klarinet Archive - Posting 000507.txt from 1999/08

From: "Benjamin Maas" <benmaas@-----.com>
Subj: RE: [kl] mic-preamps/clarinets
Date: Tue, 17 Aug 1999 11:32:46 -0400

>
> anyone who knows less than i (about how to make acoustic instruments
> sound good with electric amplification) knows VERY little(g)
>

You would be very surprised at the stupid things I have seen out in the
field. Never underestimate the stupidity of some people. There are a lot
of engineers that seem to think that clarinets sound best under the bell....

> >>All they care about is gain
> before feedback. There are ways of getting relatively close to get good
> gain, but still have it sound good.<<
>
> and also little idea of how an orchestra should sound, and a mistrust of
> wide dynamic range.
> so now my question is, am i likely to be getting the effect i aim for
> when i lean closer the mic when i have a soloist section (like we did
> when i played in jazz band in hs&college?)
> another challenge is that we have little or no monitor.
>
>

When I do classical work, I give all instruments a bit of space between the
microphone and let the group ballance itself out. It is not my job to
re-ballance an orchestra, just recreate its sound over a PA.

> one sound co. would put the weaknesses of our group and their own set-up
> in stark comparison by playing studio recordings of Boston Pops
> immediately before and after the 'live' performance. ouch!
>
>

They seem really stupid.... Although if they do their job, it is possible
to get just as good of a sound as the studio if you choose your microphones
carefully and where to place them carefully. When I go out and mic up an
orchestra for a pops concert, we get a real "studio" sound. Right now I am
working with the Henry Mancini Institute here in LA and we are mixing 40+
microphones (80 piece orchestra) and getting a great sound both on the
recording as well as in the house. It is really tough, but that is what we
do. Knowing the strengths and weaknesses of every microphone on stage
enables us to figure out placement and how to mix. This is achieved though
doing LOTS of gigs and learning out in the field using your ears. This is
not something that you can learn through a book.

--Ben

Benjamin Maas
Freelance Clarinetist and Recording Engineer
Los Angeles, CA
benmaas@-----.com
http://www.fifthcircle.com

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