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Re: Candidate for Best Performance/Worst Recording

Author: rgames
Date: 2006-08-07 21:47

Per GBK - I got a note from David and it appears that the master was damaged somehow. I assume that the same set of damaged masters was used to produce the other recordings mentioned in Ken Shaw's post - what a shame. I find it hard to believe that this is the only recording of the only clarinet concerto by such an important composer. We all need to lobby Mr. Blumberg and Mr. Williams to publish the work and get us another recording!!!

Allan - as far as clarinet/piano goes there are innumerable approaches. I prefer to have an omni pair for the room and then an individual mic on each instrument so I can "fix it in the mix." For the clarinet alone I like to have the mic(s) at least 5 ft from the instrument (otherwise you get too much key clicking and pad popping). I also tend to have the mic 4 ft or so from the ground and facing downward toward the clarinet. These numbers are rough guides that I use and will depend on the room, obviously. But in general, I like the mic some distance away and pointing downward towards the middle joint.

EQ is determined mainly by the room but, at a minimum, you'll need to get rid of the rumble with a high pass filter (either on the mic or in EQ). Most often I find that I need a little bit of "smile" EQ (mild cut in the mid-frequencies). I don't recall ever boosting the higher frequencies because I prefer a darker sound. Also, notch cuts in the higher frequencies can reduce breath noise and hiss from leaky embouchures.

Of course I should note that my experience is only with $300 mics - if I had one of those $3000 German masterpieces maybe my preferences would be different...