Here are some thoughts.

FUNK YEAH!

That machine is possibly one of the coolest things ever made.

You sound like you're rocking out big time, well more in a phantom of the opera kind of moody dressups rockin' out.

Very smooth sound - I like it. I bet it's the MKH 80x0 mics. (Didn't you say you got a pair?) They have that slight high end sparkle and mid-bass depth to me.

The real question - how do you feel about the balance of direct to reflected and how do you think this impacted the transient notes particularly between f1 and c3?

I won't say my thoughts on the question until you provide yours.

Again, I like it overall.

Cheers-
Jeremy

(Caveat - I was not listening in my studio but on computer speakers that I've come to know and like. I wouldn't venture to take a guess on imaging using them though.)

Hi!

Thanx for you view on this recording...

I have use a pair of DPA 4003 with Acoustic Pressure Equaliser, 40 mm. Preamp HMA 5000 set on 0db, and then through my Apogee MiniMp :roll: Everything is connected through Fireface 800 and recorded on Cubase 4

I know this is not the best way to use my DPA, but i have to wait for my purse to be quickly filled with this ridiculous things that is called money :) 2ch millennia with 130V, is next on my purchase list.

Back to the recording, yes it is a very smooth sound, but i have some problem with the lower notes, it's a little muddy i my ears. The balance is not perfect, i have feeling that the microphones should be little closer to the organ ?

I wonder if DPA Nose Cone UA0777 is the way to go, if i go closer on the organ ?

Love the balance between the instrument's presence and room reflection. The organ (and your mic position) really fits the space well.

Overall sound is very smooth... nothing "sticks-out" or is out of place tonally.

I also enjoyed the slight mechanical noises and pipe-chiff. To me, it lends the intimate feeling of a living and breathing instrument, rather than the sometimes sterile "using every last bit of this 192k converter" type of recordings some people seem to prefer. Those sounds are very much part of the instrument and should never be the only reason to force a more distant mic position.

Several times while checking the samples I found that I had stopped listening to the quality of the recording and had focused on the quality of the playing... that's some fine music making!

Ideally, our job is to make a recording that doesn't "get in the way" of the performance... something you've seem to have accomplished very well.

Wonderful recording.
RichS

Thanks RichS and Cucco!

Yepp! the organist is a fantastic, this three improvisation is a series of six examples he give me to record and experiment with my equipment.

Everything took about 45 min to record. l have three more piece, but these are the most beautiful impro...

Cucco wrote:
The real question - how do you feel about the balance of direct to reflected and how do you think this impacted the transient notes particularly between f1 and c3?

Im not sure what you have notice?

On this three piece i feel the balance is pleasant and smooth, but when he pull out all stops, everything is plant
on my nose. I dont like a big pipeorgan to run over me :)

Maybe acoustics- mic are necessary to manage the sound better?

I know, move backwards when he play loud, but the lower notes begin flicker and lose clarity (focus) when you
are to far from the organ. This problem are more expose in large church and cathedral...

Sorry for the delay...been out and about a lot lately.

My only thoughts, based on what I remember and again, the less than perfect monitoring conditions were:
- the balance leaned a little towards the reverberant side
- this tended to take some of the potentially intended bite out of the trumpet pipes and some of the reed pipes.
- The transients through that range appeared to be a little smeared due to this balance.

These seem like "hard" criticisms - but please bear in mind, these are really just tiny little things that I noticed. They certainly do not take away from the excellent performance, instrument and capture.

Best regards,
Jeremy