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choir recording question
- Thread starter docvlak
- Start date
MASSIVE Mastering
Active Member
I'd definitely experiment with the timing, but move slowly and go with what best serves the mix.
Trying to figure the time-alignment in mono may help avoid goofy sounding phase problems...
But in short, if you have a good sound that's \"extra spacious\" you can use it to your advantage if it works well on its own, or time-align it, or bury it and wash it in verb, or bury it and compress the snot out of it... It's an empty canvas.
Trying to figure the time-alignment in mono may help avoid goofy sounding phase problems...
But in short, if you have a good sound that's \"extra spacious\" you can use it to your advantage if it works well on its own, or time-align it, or bury it and wash it in verb, or bury it and compress the snot out of it... It's an empty canvas.
reedrobins
New Member
Clap...
One thing I do when every mic is going on to its own track is go to the dead center and clap my hands, or make some other percussive sound (snare hit for example) with the recorders rolling. This in particular in a difficult or rushed situation.
That way, if I bring the tracks back into a daw, I can look at the delays between different mics, and adjust the time alignment of the tracks if necessary.
-Reed
One thing I do when every mic is going on to its own track is go to the dead center and clap my hands, or make some other percussive sound (snare hit for example) with the recorders rolling. This in particular in a difficult or rushed situation.
That way, if I bring the tracks back into a daw, I can look at the delays between different mics, and adjust the time alignment of the tracks if necessary.
-Reed
MASSIVE Mastering
Active Member
Big points for bringing that up - I tend to do the same from the conductor's podium. A couple firm WHAPs on his stand with a baton or clicking a pair of drum sticks together.
Of if you want to impress the chicks, bring a clap board and say \"Sync mark in three, two, one... and then clap it down like Lucas would. =D>
Of if you want to impress the chicks, bring a clap board and say \"Sync mark in three, two, one... and then clap it down like Lucas would. =D>
The clap/smack/gunshot/drum hit/etc thing seems to work out nicely for aligning stuff.
Also, if you are into experimenting more with your mic setup, I recommend trying a single decca-tree configuration with the highest quality condensers you have, up pretty high above the choir and back a decent amount.
Also, if you are into experimenting more with your mic setup, I recommend trying a single decca-tree configuration with the highest quality condensers you have, up pretty high above the choir and back a decent amount.
Why do want to time align the mic's? Btw. I would only do a choir with an ORTF if the choir stands in an exact semi-circle around my ORTF. If the choir stands in a straight line in front of the ORTF, then you get problems with your stereo image. The outer edges of the choir seem to be more in the back than the middle. I would go for 3-5 SM omnis in a row about 6 feet in front of the choir in height of 8 to 10 feet.docvlak said:
Try to play with the position of the singers. Normally the stand as SATB (Soprano/Alto/Tenor/Bass) get them to sing in STBA. Much better for the recording !
Use your Blumlein as room mic.
br
Gerhard