Klarinet Archive - Posting 000625.txt from 2001/03

From: stewart kiritz <kiritz@-----.net>
Subj: Re: [kl] Re: sound/close miking in studio
Date: Sat, 24 Mar 2001 11:31:48 -0500

Benjamin,

The information on recording is very interesting! I am trying to record
myself to work on my sound and am using a Sony ECM MS-957 along with an old
Walkman Pro.

So while this project is not for professional recording it is important to
me to try to do as best as I can to capture the sound others will hear so I
can work on my tone production. I find the recording is very useful in many
ways, regarding little lapses of breath support and other technical
imperfections. But I am not sure it sounds a lot like me. My wife says it
doesn't. How would you characterize this mike, and is there a "step up" I
could take without spending the $1200 for the Coles? Or can I find a used
Coles somewhere? Or would that be overkill? Interestingly I saw the RCA
you mentioned on ebay but bidding has reached $1050, bringing it close to
the Coles.

Great to have an audio expert on the forum. And as I recall, a former
Mitchell Lurie student. How did he seem at the celebration for him? And
did he play? I just relistened to the recording he made of the Brahms
Quintet and found it amazing in the way he blended with the strings,
phrasing, control, everything.

Stewart Kiritz

----- Original Message -----
From: "Benjamin Maas" <benmaas@-----.com>
Subject: RE: [kl] Re: sound/close miking in studio

>
>
> > -----Original Message-----
> > From: stewart kiritz [mailto:kiritz@-----.net]
> >
> > Benjamin,
> >
> > Would an old Sure 330 resemble the Coles?
> >
> > Stewart Kiritz
> >
>
> I am not familiar with that microphone, however I've found precious little
> that sounds like a Coles 4038. The new Royer ribbon mics are similar, but
a
> bit brighter (and they have higher output). Perhaps an old RCA 77DX might
> sound similar, but the high end isn't as defined (but talk about a
gorgeous
> old mic!). Other great mics on clarinet include the AKG C-12 VR (a
> contemporary tube mic), a Neumann U47, Neumann 582 (omni with the gold
> capsules... A mean bass clarinet mic), a B&O mono ribbon mic (I can't
> remember the number). There are lots of great mics out there depending
upon
> the player.
>
> Part of the cool thing about microphones (and preamps and mixing consoles,
> and...) is each one is delivering a lie or at least its version of the
> truth. Recording is the art of taking these different versions of the
> "truth" and combining the sounds to make a pleasing product. There is no
> such thing as a recording that sound *exactly* like what you'd hear. They
> can come close, but they'll never be exact.
>
> You hire a good engineer to have the sense to deal with these sounds and
get
> a good result. While I can give some hints as to how to achieve a
> particular sound, I cannot tell you exactly how to do it. That comes from
> years of experience and personal experimentation with different
techniques.
>
> BTW... On a somewhat related (commercial) note: In a few weeks, there is
> going to be a new recording of the Los Angeles Master Chorale coming out.
> On it will be the Dominic Argento Te Deum. It is an absolutely amazing
> recording of an amazing piece. It will be released on the RCM label
> (www.rcmusa.com). And oh yeah... I have some assistant engineering
credits
> on it :-)
>
> --Ben
>
> Benjamin Maas
> Fifth Circle Audio
> Los Angeles, CA
> benmaas@-----.com
> http://www.fifthcircle.com
>
>
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