J. Gregg et al. IMHO: These are my two preffered books. (especially the first one for microphone information) http://www.focalpress.com/books/audio/the_microphone_book_second_edition.aspx?cat=166&sub=168 the above book is also by John Eargle but is microphone specific (currently in the second edition) and http://www.focalpress.com/books/audio/modern_recording_techniques_seventh_edition.aspx?cat=166&sub=168 http://library.usc.edu/uhtbin/cgisirsi/a1GSmu0qbu/DOHENY/131910133/9 I used them in college as an audio engineering student and still frequently use them for reference almost everytime I record (since I don't really record that often these days, but I have used them for reference in respect to recordings ranging from solo marimba to chamber winds to multi-tracked popular styles). The horn recording info is somewhat limited in the books ( a paragraph in modern recording techniques and the same but with a diagram in the mic book. That said the mic book has great information on general mic technique) but they are very good general practice manuals. Maybe good interlibrary loan requests before buying. I would also check the Audio Engineering Society journal back issues for info on recording horn or to geek out on the material (as one might be prone to do). For searching to buy them or Inter-library loan. http://www.aes.org/journal/search/ I like ORTF with small diaphragm cardioid condensers if only two (and was recomended to me as a starting point from a former New World Symphony audio engineer fellow). If adding two more microphones 2 spaced small diaphragm omnis. Additionally ORTF sometimes does not work so well if mixed down to mono but who does much? I love the ampex link, great crash course. I have some small diaphragm microphones with interchangeable capsules from Peluso I am quite happy with for a variety of recording situations. (its a really great small company). and I would own Apogee or Solid State Logic ADC if I could afford them. (there are other great and nice or nicer ones too, thats just me at this point). I currently use focusrite convertors. http://www.pelusomicrophonelab.com/CEMC6SK.html the last place I might look is audio engineering message boards and maybe the AES forum. and there always is: http://www.aes.org/events/129/ which isn't too far form you but may be too late. good luck from an amateur of many things (at risk of unciteable reference: http://en.wikipedia.org/wiki/Amateur) Nathan Coy
--- On Tue, 3/16/10, Howard Sanner <[email protected]> wrote: From: Howard Sanner <[email protected]> Subject: Re: [Hornlist] Microphone Research To: [email protected] Date: Tuesday, March 16, 2010, 2:11 PM Have a look at: http://www.ampexguy.com/horn/rectips/rectips.html You may have to copy and paste the URL into your browser for it to work. As far as microphones, preamps, and so on, there is a wide variety, and most of them, correctly deployed in a good hall, will make an excellent recording. And there are many different ways to deploy microphones correctly, depending on the hall, the microphone, the music, and so on. For classical recording, the hall, by far, is the most important factor. Decent quality preamps and microphones are available nowadays at prices that would have been unimaginable even five or ten years ago. In sum, don't get hung up on hardware. For small ensembles I personally tend to use an ORTF array. However, despite many audiophiles' belief that we should always use only two microphones because we have only two ears, the minimalist approach usually does not work well for large ensembles. You'd have to be some kind of magician to record, say, Till Eulenspiegel with two mikes and not either have a gaping hole in the middle of the stereo image or not pick up the back stand strings. The standard college-level textbook on the topic is John Eargle's Handbook of Recording Engineering. There's a link to a citation on the web site above. HTH. Howard Sanner [email protected] Just back from the Grieg piano concerto wars (I was on the losing side) Quoting J Gregory Miller (USC): > > Greetings, > > > > I am looking for recommendations for microphones, preamps, patterns, > placement, and setups (limited to only using 2 microphones) which anyone has > encountered in their travels. > > > > After talking with some of the LA freelancers and audio engineers at WB, > Sony, and Fox studios, 2-mic coincident and ORTF seem to be popular with a > hyper-cardioid pattern, but microphone choices, preamp selection, and > distance from source vary quite a bit when recording horn players. > > > > I would be interested for additional perspectives. This is being done for an > upcoming research paper. Any and all submissions would be great! > > > > Best, > > > > JG Miller _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/natkingcoy%40yahoo.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
