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I hope this helps.

209.128.168.73

Posted by RBP on December 19, 2000 at 23:07:29

In Reply to: How are Classical and acoustic Jazz performances mixed? posted by High-end Dreamer on December 19, 2000 at 12:27:23:

I have discussed this in detail before, but will do it again, as it is a very intresting topic.

What goes into the microphones can be unuseable for the end product. Mixdown, and certain digital eq are required to make the performance "jibe" with associated playback equipment in the consumer domain.

Here is an example:

Live Classical (remember an example, not an absolute)

Two front mic's. left / right of the conductor. Ywo mics, overhead , above the center of the orchestra. One mic behind, at 180 degrees phase, the low frequency instruments, string bass, rear of stage.

So you have 5 channels. Mixing, you pan for perspective, and eq the microphones for Proper interaction. Channels post.

Then once you acheive this "balance", then having the score in hand, you work the board as a musical instrument.

Some of my takes are over 300 of them, with score in hand, try to catch a happy medium. The 1/2 mic's are dominant. Then as solo instruments are needed, you use automation and flying faders to ride certain parts that were not captured authentically.

I also have a scratch pair of tracks in the audience for reference running on tracks 7/8.

Track 6 will have another microphone in the rear of the hall, eq'ed for subharmonics, and time alighned for 1/2 of distance to front, to keep phase in check. This microphone captures frequencies below 35 hZ.

This is brief, but I hope you get the idea.

Jazz will comprise of a live two track feed from the board, and three track microphones. I take it back to the studio, and mix it.

After all of this is done, mastering takes place.

I try to duplicate the sound of a 12th row center seat for classical, and a 90 dB seat for jazz.

I am coming out with a sampler CD soon, so some of these techniques will be avalible for audition. Email for some info.

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