Various recordings by Michael Carnes. These are all from live performances. Players, dates and venues are intentionally not listed. I don’t want to get them (or me) in trouble with the musicians union or rights organizations. These are all professional performances in live situations. There will be clams, sneezes and so on (although there would have been many more without RX). Enjoy the energy and the risk of doing it in one take. All files are “high quality” MP3. Please do not attempt to download these files.
I’m an experimenter with mic placement. I’ll add comments about mics and the advantages/disadvantages of the technique.
LCR mic placement. Schoeps MK2 omnis on left/right Schoeps MK21 wide cardioid in center. Mics at about 7’ (2 meters) off the floor. This technique can give a very wide and robust (immune to the sweet spot) image. Mono compatibility is acceptable.
An example from this piano masterpiece. Needs a little cleanup to get rid of some pops from bad power. M/S mics just outside of piano, pointing into strings (Schoeps MK21-mid, Samar VL37a Ribbon-side). Schoeps MK2 omnis about 6’ (~2 meters) either side of piano and 8’ (2.5 meters) off the ground.
Haydn invented the string quartet. He also invented the symphony and much of the rest of classical music. He is fully the equal of Mozart and Beethoven. This should prove it. Recorded in a very large space, with nearly all of the reverb natural. Just a bit of tail extension and a little reverb to keep the center mics from being too dry. M/S mics at stand level—very close to the players. Neumann KM140 as mid and AEA N8 as side. Also flanking omnis (Schoeps MK2) just outside of the group. Tracks recorded by this technique also move into surround mixing quite naturally.