Recipe for a really super natural lute sound:
1) Use 20-50 prohibitively expensive mics.
2) Place them at least 415 feet away from the instrument.
3) Arrange them in an incredibly intricate array involving rigging from
a chemistry lab reminiscent of a bad sci-fi movie. (Be sure to record
in no less than four channels.)
4) After recording, digitally manipulate the product with at least 4000
edits, taking special care to remove all aspects of the natural sound
you don't actually mean to be heard (finger noises, fret buzz, the real
sound your lute makes, etc.).
5) Liberally slather "La cathedrale engloutie" reverb all over the
finished product.
6) Serve, relishing how your colleagues will compliment you on sounding
so natural it is even better than the real thing.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Tue, 4/3/12, Brad Walton <gtung.wal...@utoronto.ca> wrote:
From: Brad Walton <gtung.wal...@utoronto.ca>
Subject: [LUTE] miking a lute/theorbo
To: lute@cs.dartmouth.edu
Date: Tuesday, April 3, 2012, 12:05 PM
Hello folks,
On the weekend I recorded two pieces in a professional recording
studio. I was accompanying a singer on the theorbo. The recording
engineer aimed two mikes quite close to the body of the theorbo.
On the recording, the sound of the theorbo is very tinny and distorted,
and bears almost no similarity to the natural/ acoustic sound of the
instrument.
Has anybody had experience with miking a lute or theorbo for
recording? What mike placement gave you the best results so far as
concerned fidelity to the natural sound of the instrument?
Thanks,
Brad
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