Klarinet Archive - Posting 000571.txt from 2005/03

From: "Benjamin Maas" <benmaas@-----.com>
Subj: RE: [kl] bass pick-up
Date: Tue, 22 Mar 2005 22:31:33 -0500


> -----Original Message-----
> From: Peter Stoll=20
>=20
> It has been interesting reading this; I've often
> wondered how an engineer could ever record a solo or
> chamber bass clarinet and not get tons of key clicks.
> I've noticed that's one difference on all clarinet
> recordings, depending on the quality of the recording
> process; no or fewer moments of clicks or air
> noise/embouchure leaks. Heard 2 recordings lately that
> had a marked difference there, one from a large
> multi-national label and one from a small Canadian
> one.
>=20
> Ben/others; is there a standard setup the biggies use,
> ie what does Deutsche Gramophon do when Renata Rusche
> makes her next CD?
>=20
> Peter
>

Well, it has only been two weeks since this was written... Sorry it has
taken awhile to reply- I've been pretty busy here.

The quick answer is there is really no standard setup that is used for
recording. Much of what happens in a session as far as the micing and =
the
engineering is dependent on so many things from the equipment available =
to
the instruments to the room to the engineer's personal preference for =
the
kind of sound they want to hear... There are things that can be done to
minimize production sounds, though.=20

The first thing is not to get too close with the microphone. In a solo
album- say in the case of a CD like Renata Rusche would do, I would =
likely
start with a single stereo pair or stereo microphone out in the room
capturing the best bass clarinet and piano sound possible. I may find =
that
a spot microphone or two may be needed for the individual instruments, =
but I
try to avoid that generally. =20

The next thing is to know the individual characteristics of the =
equipment in
use. Just like instruments, each part of the signal chain has its =
effect on
the sound. Some microphones are bright and some are dark (I don't care
about your bright versus dark semantic arguments- If I say bright and =
dark
99% of the people out there will know what I mean). Some microphones =
have a
very fast transient response and some have a slower response- much of =
that
is due to the kind of microphone it is, whether a ribbon, dynamic, or
condenser. With condensers, you find that some of the older tube mics =
will
have a warmer sound but a higher noise floor... They may not be as
"accurate" but they create a sound that we would find more pleasing.
Despite the noise, you can still get a pretty amazing recording.

Also, when going into a session, people that play noisy instruments are
encouraged by me to have a technician go through it and quiet things =
down as
much as possible. Here in LA, because of the studio business, there are =
a
number of techs that specialize in making a horn play absolutely =
silently.
If you are going to go through the effort of making a recording, I =
suggest
making sure that your instrument is in tip top shape.

When choosing what kind of main pair to use, I need to consider the room =
and
how the instruments sound in that room. Some microphones have a more
directional pickup than others. What that allows is more or less of the
room's sound to be integrated into a recording. When using less =
directional
mics, I find that I need the mics to be closer to the sound source. =
When
mics are more directional, I can get further away. In some cases, you =
may
find that a more directional mic can sound better as a spot mic because =
you
can get it away from the instrument where you'll hear the production =
noise
more...

What it all comes down to is that is part of the art of making =
recordings.
It is part science (acoustics), part electronics, part tech, and part =
music-
in the end, though, it takes an artist to be able to put all of those =
parts
together to get the kind of pleasing result that you are looking for.

--Ben

Benjamin Maas
Fifth Circle Audio
Los Angeles, CA
http://www.fifthcircle.com

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