Quote:
Originally Posted by martifingers
If the Neumann is the main source, are you suggesting going for a purely mono recording?
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You might be able to get some stereo separation if the spot mics turn out to be useful. Otherwise yeah.
There's one mic there (the 103) that can pick up full range sound and importantly transient detail as well. Get that in the right spot and if the live sound was on point you could end up with a truly pro sounding recording. The spot mics might become very useful reinforcing some elements.
I assume this is a live in a room with no PA support gig (or you would be working with the live guy and have more mic choices and so forth).
Placement is going to be the problem for it. That sweet spot might be in the first rows of seats. You might be able to find an overhead like position with some height in front but still on the stage that both gets a good capture and is out of the way visually. Some big old mic setup front and center or in the first row with wires running back to the stage would be very awkward!
Hey you know what? Talk to the band members! They may have a mic or two between them.
If you could go in with another 4 decent small diaphragm condensers you could capture it very well and even if the live sound wasn't perfect. And have the ability to not only mix in stereo but 5.1.
- pair of condensers for drum overheads (get the whole kit, snare image centered, kick image centered if possible)
- 103 for center overhead (snare and hat should be right here, go for the same distance as the overhead pair from the snare)
- 88 on the kick
- pair of condensers on the piano strings
- Rode on the underside of the piano (couple inches)
- DI on the viola (from the pickup - there's an amp so they must have a pickup)
- 57 on the amp
That's 9 inputs. If you only have 8, drop the 57 on the amp. The DI is more important and you could fake an amp after the fact. If they are using an amp as their stage monitor and not with the idea of amp gain fx (like e gtr) it might be a compromise anyway.