I usually do concerts like this with a minimum of 6 mics.

A blumlein pair in the center and omnis on the flanks. (usually a SF-24 or AKG 426 with DPA4006's). Choir gets 2 mics spaced equally across the front (splits the group in 3). I usually use a second pair of 4006's or perhaps Schoeps with MK21 capsules (in the case of soloists inside the group, I may opt for the Schoeps). The mics are positioned high- usually above the heads of the top row and then they are angled down into the ensemble. It allows for a unified sound, but you still get the presence needed.

--Ben

Ben,

Thanks for your reply. With the choir standing in front of the orchestra, wouldn't your main mics be the choir mics by default? How would you pick up the orchestra's sound? As I mentioned, the orchestra is behind the choir. And because the instrumentalists are sitting and the choir is standing, the orchestra is essentially below the choir. I could possibly try and slip some microphones between the chorus and the orchestra.

-- James

Jimbo,

From your description, the choir is the primary instrument with the orchestra accompanying. You might simply add a few spot mics to bring out more distant sections of the orchestra. Some examples might be to place an MS or ORTF pair over the woodwinds; spot on the bass section; plus one or two on percussion. If the piece includes harp or celeste, consider spotting them as well.

Peter.

Is it possible to hang or place mics on a stand between the choir and the conductor? I might not use a full blumlein as the rear lobes may make things sound strange, but an ORTF pair, Mid Side, X-Y, or 90 degree hypercardiods all are ways of doing it well. Each has their pluses and minuses.. You could even do a decca tree of sorts by placing three mics out- one in front of the violins, another in front of the violas/seconds, and the third by the cellos.

Depending on how the soloists step out, I may use a stereo pair and flanks on the choir or I may do 3 across or still stick with the 2 mics as I described earlier. It really depends on how they step out and if they sound bounces from side to side. You may find that something like a pair of MK21's on a wide bar may work as a great pickup for the choir and soloists....

It is all variations on a theme and they can all work- just depends on the room, the group and your rig.

--Ben

Ben and Peter, thanks for your suggestions. Some good ideas.

The choir is split on either side of the conductor, i.e. 6 voices on the conductor's right elbow and 6 voices on the conductor's left elbow. Everyone is cheek-by-jowl. The soloists take 1 step forward for their recits and arias. (The space is very cramped.)

Given this set-up, it's not possible to hang mics between the choir and the conductor. I might be able to do something like the modified Decca tree to cover the orchestra -- would you use omnis in that case or cardiods?

(By the way, I'd love to try the Royer SF-24 sometime. Do you know where I can rent one in NYC? It sounds as though this is just the thing for most of my work, which is mostly chamber ensembles and chamber orchestras.)

Orchestra spots aren't really needed since we're talking about a Baroque orchestra of 16 to 17 players. I need to find a way to bring out the whole instrumental ensemble in the mix. Also, a critical issue is the lack of time for set-up: 60 to 90 minutes at the outside. No way to hang mics. They have to be on stands.

I'll try and take some pictures of the concert and post them. It takes place in a couple of weeks and is the first in a series that continues through the fall with the same basic instrumentation and type of repertoire, i.e. Bach cantatas.

-- James

If you want to try the SF-24, why don't you contact Royer directly or arrange a demo from a dealer? I'm sure Royer can also put you in touch with folks that have them or rent them on the east coast.

In NYC, I'd start by talking to somebody like Dreamhire to see if they have one for rent.

--Ben