Apologies in advance for the lengthy post. My primary experience is in recording orchestra/choir/wind ensembles on location and I am generally quite comfortable doing this after 10 years. However, I've got an unusual session coming up with our local professional orchestra. The orchestra will be taping a performance in our local PBS studio. It's a 10,000 square foot facility, so it's generally spacious enough for an orchestra. See this link for picture/info about the facility. http://wsre.org/amosStudio/seating.asp The walls and ceiling are multiple layers of sheetrock topped with 3" rockwool. This room is DEAD acoustically. I typically record with a quasi Decca tree using Neumann USM69 in blumlein and Earthworks QTC40s as the omnis. I have Millennia pre's. I generally feel fairly confident with the recordings I make using this setup. But, I feel quite uncertain as to how to approach this room. My thoughts: the usual "out front" mics I've used many times may not cut it in this acoustically dead space. I already know I will have to add reverb artifically and plan on using Waves IR to do so. Mics I have at my disposal (some personal gear, some WSRE gear, some WUWF gear): 1 USM-69, 2 Earthworks QTC40s, 2 Beyer M160s, 4 Rode NT5s, 6 AKG-414B-ULS, 6 Shure SM-81s, 1 AKG 451, 4 AT unipoint hanging mics, various dynamic mics (58s, 57s, 421s). I am fairly certain that the video director is opposed to mic stands in the orchestra for highlight mics (except I might be able to sneak one in on the harp and some on basses. Mics will have to be hung in the lighting grid (yikes!) but I have 1000 feet of Gotham GAC4 and Mogami 2534 cabling which should reject most of the nasties. I plan on pushing the signal from the studio to the broadcast mix room at line level out of the Millennia to help with any loss in quality. The mix will be done live to the DVC pro masters, but I will be multitracking it for safety. The orchestra will be performing only 1 piece (Tchiakovsky's Francesa de rimini) in front of the studio audience. The audience will be instructed that the orchestra is doing a "recording session" with a couple of complete takes and lots of partial takes with cameras moving all over the stage. How would you guys handle this session?