Spot micing in an orchestra/ choir soloist situation

Posted: Sat Jan 08, 2005 6:36 pm

Sonarerec wrote:

As strange as this may sound, I am ENCOURAGED to hear of a trombone section that needs the help, as most often they are out to conquer the universe. Loud playing is SO much more fun to DO rather than listen to! I have changed my views a bit on this over the years!

As for Detroit, I played a week with them in 1986 (in Hairbag's tenure) as a part of the final audition process when Randy was hired. If you want the details let's take it offlist. I was fulltime in Nasvhille, the others were sporadic as needed.

You mentioned you have Sequoia-- how do you assign tracks for orchestral?

Rich

If you want to hear weak bones - come to the DC metro area! Short of the big orchestras (Baltimore, National, and one or two more) it seems as though they're afraid to make a sound. It's frustrating. Personally, I like the bigger, in your face sound (not so much like Chicago - too much, but a lot like San Francisco).

Truthfully, I only played a few concerts with Detroit being a sub for them before I was no longer able to give the time necessary for the travel (from Central Arkansas - yeehaw!)

As for Sequoia, I gladly have purchased a copy, but don't use it yet as it's currently sitting on the UPS truck on its way here. For the time being, I use Cubase (which I'm growing to hate - particularly its sound!). If I understand your question correctly (assigning tracks), what I do, especially since I heavily depend on a control surface is as follows (this is roughly the arrangment I use on most concerts with small variations):
- Two center omnis spaced relatively close together (18 inches or so, give or take a little). These are relegated to channels 3 and 4 and labeled near left and near right. I pan them very gently left and right. (Cubase uses 0-100 as a pan scale and I usually have them positioned between 20 and 30).
- Two outer omnis usually about 12 feet or so off center position. These are my channels 1 & 2. I label these far left and far right. I pan these rather agressively left and right (not all the way though, that just sounds unnaturally wide. Usually I go between 75 and 85 on the Cubase scale.)
- I then put any solo mics in slots 5 and 6 and label them appropriately
- Any spot mics (on the rare occassion that I use them) get put in the remaining channels, panned and time-delayed appropriately.
- Then, any effects channels such as mild compression or any reverb that I may need to use go on successive channels, again labeled appropriately.

I hope this answers the question, though I might have misunderstood.

One quick horror story:
I was micing a Pops orchestra doing some soundtrack type work, so I was doing a lot of section micing. I had a Schoeps mic sitting directly over the Oboe section (I know, I know - why the hell would I want to mic an Oboe?). I asked the conductor to kindly inform all of the instrumentalists not to touch any of the mics, but if they had a concern or question to get me and I would take care of it. The first Oboe player, however, didn't like where the mic was placed, so she grabbed it by the capsule and began to slide the stand across the stage as she accidentally let go and the mic crashed to the floor. FWIW, I don't think a judge in this country would have considered homocide in this case to be inappropriate!

BTW, welcome to the forum Rich. Your presence is much appreciated.

J...

Posted: Sat Jan 08, 2005 10:26 pm

<<The first Oboe player, however, didn't like where the mic was placed, so she grabbed it by the capsule and began to slide the stand across the stage as she accidentally let go and the mic crashed to the floor. FWIW, I don't think a judge in this country would have considered homocide in this case to be inappropriate! >>

Ah, the things people do when you don't have your gun!

I'll bet THAT'll teach her to mess with your mics. (No jury of your peers would have convicted you otherwise!)

Think about the reverse: What would SHE have done if you came up and attempted to tune or adjust her reed? Or moved her chair?

People just don't THINK sometimes.... If she HAD, she could've just chatted away into your mic, saying things like: "Hey sound guy; c'mere! I wanna talk to you! Yo! Over here...i'm in the oboe mic and you need to get out here....." I've picked up on problems sometimes by just happening to listen to a player bitching and moaning aloud or asking who/where the sound guy was.

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