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.
This is an oboe concerto that has been transcribed for clarinet and string quartet. I’ve recorded this piece several times: sometimes with continuo and sometimes without. This time is without. Mic placement is uses Mid/Side right in front of the stands (Mid is Schoeps MK21 and Side is Samar VL37a. The level of the side is down several dB, so this pair serves primarily as a center anchor. On either side of the group are Schoeps MK2 omnis at a little over 7’ up. A mic technique like this can be a little dry, so there’s a teensy bit of R4 reverb in here.
Fritz Kreisler was a virtuoso violinist with a sense of humor. He wrote a number of pieces like this and then announced them in concert as discoveries of great composers. This didn’t hurt when it came to the box office. It wasn’t until later that it became clear he’d written them all himself.
This is recorded with a modified Decca tree arrangement: Two Schoeps MK2 omnis spaced at 2 meters with a Schoeps MK21 at center and 1 meter forward. The violinist is world-class with an international reputation. The instrument is a Guarnari.
I’ll admit that a little Dvorak goes a long way with me. So I’m only posting a single movement. But it’s a good performance and it demonstrates how well a Decca tree (same arrangement as the Kreisler piece) gives a stereo image.
These are three popular movements, played by brass quintet. This was in a very reverberant space (Holy Cross in Woostah). I recorded these back in the Pleistocene and used a pair of Neumann KM140s in an ORTF configuration. If I only had two mics for a stereo recording, it would be this configuration. Wouldn’t have hurt to be a couple of feet closer to the band, but it wasn’t possible.
Here are 4 Sinfonias, played by string trio. They’re great performances and you’ll enjoy them. But I made two mistakes in the recording. I only used a pair of mics (AKG 414XLS) in a spaced omni configuration. These causes something of a hole-in-the-middle effect that would have been helped by an anchoring center mic. Happily, the players didn’t move around very much—an effect that can be very disturbing with spaced omnis. The second mistake was the fact that the room was very live (and a little harsh). If I’d selected an open cardioid pattern on the mics, it would have knocked a dB or two off the room. That would have helped.
This string quartet was recorded using my setup of M/S in center (Schoeps and Samar) and a pair of space Schoeps omnis. This in the same space as the Sinfonias, but is obviously a much better recording.