 The Clarinet BBoard
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Author: beejay
Date: 2000-01-19 07:59
And a related question to my previous posting about accoustics. How do you record yourselves? I tried it with a basic cassette tape recorder and cheap microphone, and the result was appalling -- very thin and warbling. I think, at least I hope, I don't play that badly. The reason I ask is that my pianist partner and I live in separate cities and can't manage to get together too frequently. So we want to record each other in order to practice certain passages when we are on our own. I'm wondering if it's worth the investment in a digital tape recorder, and if so, what kind of microphone? Or are there better solutions?
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Author: Arnold the basset hornist
Date: 2000-01-19 12:11
Well, at first I have to say, this is not a recommendation to use the same equipment as I have.
I own a digital tape recorder (DAT-type) since a couple of years and also a pair a "very low noise" mono microphones. Result is good (noise of traffic and my own playing quality are the hits for still better results, not the equipment).
<b>I is important, where you place the microphones!</b>
I prefer the 'classical' position which I would describe like this: in front of you, one or two meters away, approx. 2 meter above the floor.
I think, you'll get fascinating results, too, when you use a medium quality stereo microphone and one of that modern 'mini disc recorders'. I expect the disks have a longer life than the tape material when you re-record them frequently.
Hopefully you have a friend with such an equipment so you can 'taste' the quality.
Good luck
Arnold (the basset hornist)
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Author: Mario
Date: 2000-01-19 18:34
Recording all winds properly is difficult. The clarinet seems the most difficult. Here is why.
The beautiful tone of the clarinet is actually composed of many frequencies that are interleaved together to create this beautiful color that we love so much.
It turns out that some of these frequencies come through opened tone holes up in the body, while quite of many others come from the bell, irrespective of what is coming out up-stream. Naturally, the lowest frequencies go through the bell, while the higher ones come up-stream. Open tone holes act as low pass filter. This is why opening tone holes lower in the body can affect throat tones, etc..
When we put a mike at some particular location, it is usually in front of the body. This means that the mike picks up first higher frequency sounds quite lound, and only pick up the rest after some delays if at all, and certainly much softer since the wave have to travel a relatively long distance. This is why the recorded sound seems so tin and unpleasant. Try playing with clogged ears (for instance, during a bad case of ear ache) where the sound gets to your only from the skill. It is shrill and tin, quite like what you get by recording with the mike too high.
The wabling is actually a case of the lowest frequencies getting to the mike a little late, thus out of phase and out of tune. Ugly like hell.
Solutions: In a quiet, fairly large room, with reasobible reverbation (a decent size room in the basement with good walls - not carpets or curtains), put you mike far and low.
You will need to experiment to find the right sweet spot in your room.
Or, buy one of these specialized recording systems with two mikes and a mixer (about 300.00 at WW&B). One of the mike will be quite high on the body, the other will be in front of the bell. They work extremely well, both in real-time and for recording.
If you plan to record a lot (for instance, to listen to yourself critically) or want to play in public regularly with amplification, this little piece of equipment is a great tool in the box. Great pros like Eddie Daniels and Ken Peploski used that gadget all the time.
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Author: Willie
Date: 2000-01-20 02:35
Another tip is to improve the accoustics of the room you're in. A simple and cheap way to do this is gather up a bunch of old egg cartons, not the plastic but the recycled cardboard type. Tape or tack these on the walls a small room and this will remove almost all "echo" effects and more like a good sound studio. You can later take them down and stack them neatly in the garage or closet.
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Author: Arnold the basset hornist
Date: 2000-01-20 07:31
Just a notice:
If you have a (plane) wood floor, recording (not amplifying) may work quite good with one microphone only, if you "catch" the frequencies from the key more or less directly and those from the bell by reflection from the floor.
(I have little less problems, as the bell of my basset horn is turned upwards.)
Arnold (the basset hornist)
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