Author: Oboe Craig
Date: 2011-08-21 21:44
Robin,
Please, have at it. That is why I am doing these... to share and stimulate some discussions out here.
I read your acoustic recording blog, studied your diagrams, etc... all good stuff.
I shared that I am doing these recordings about an arm's length from the mic, no eq or compression and adding digital reverb in the mix.
That does mean key clicks, spit sizzling on the reed, etc., get recorded and are not forgiven like they would be in a concert hall. Its all part of the studio challenge, but the funny thing is... its all real, kind of organic I think, and adds something (good or bad) to the sound. And its probably more of a front row center thing for those who like to sit there for concerts. Definitely different from back in the hall.
I became fascinated with some ethnic music traditions and their emphasis on 'decorating' the sound. Bottle caps rattling on some African drums, extra beads and things to cause rattle... got that from N. Scott Robinson who does some percussion with Oxymora, and now I find I am agreeing more and more with that.
It is having a impact on my sound concepts and reeds.
If you listen to this last of four Telemann sonatas it sounds very different, and the only real difference is a bit louder sliders during recording and a different reed.
I also experiment doing things like recording softer level and boosting them on playback, or record louder levels and reduce them for playback.
I do this as an ongoing experiment to understand variables and to learn enough to get the sound I want (later) on purpose and in a repeatable process.
And then in some concert settings there is much more to deal with given house sound systems, remote rocording on a independent device (not off the main boards...). Here is an example of that:
http://www.youtube.com/watch?v=SJ6NjHVEGQg.
Whatever combination of direct sound, amplified sound and room acoustics combined by the time the sounds hit the little Sony Hand-cam's mics in the rear of the room. ![[toast]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley15.gif)
My focus on Telemann is for the therapeutic benefits. That music helps recycle my brain which can get cramped from doing a lot of original music and improvisation.
It helps overcome the mania or OCD that tends to go along with how I do the original stuff.
play on, and thanks,
-Craig
Post Edited (2011-08-21 22:22)
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