You can record a trio with two microphones provided they are the correct microphones for the job. Your first step is to forget about your acoustic panels. You need to find a very nice sounding room or hall. Look at the local universities or theaters or churches or wherever might have a large room with natural ambiance. This is the toughest and most important part. Once you have a good room then the rest is easy provided the ensemble plays sensitive and well together.

What microphones do you have? Can you hire some microphones? Your easiest solution might be a mid/side microphone but only if it is good quality. Another good option would be to use the ORTF technique. Your microphone stand should be centered and back from the trio around 4 meters. If the bass is amplified make sure it is not too loud.

Hi JackAttack,

thanks for replay...
I don't have any mics for now.
I made some rehersals with two schoeps and two Neumann (using ORTF technique) and I like the result.
Anyway I would like to record in my house, because I have my piano and I like the sound of the room.
I know that a theatre could be better, but I don't have a theatre in my house :-)

Hopefully the room your piano is in is a large room. You will want to move the piano away from the walls. You will also need a fourth person to move the mic stand around the room until you find a place that sounds the best.

Step 1-with the trio playing, have the helper walk around the room listening for sweet spots. Those spots are not always at head height so it is important to move the head up and down while doing this.
Step 2-after you have found one or three sweet spots then try your microphone stand and elevation at these points. Try them all because the microphones will not respond exactly like your ears. Again the trio needs to be playing for this. If only the piano or only the bass is playing things might be very different.

Schoeps and Neumann are good brands. There is quite a bit of variation in the designed response of the Neumann line though so be careful which ones you choose.

Good luck. Some of the other acoustic guys will poke their thoughts in here sooner or later.

Thanks again,

you've been very useful!!!

TheJackAttack, post: 300801 wrote: There is quite a bit of variation in the designed response of the Neumann line though so be careful which ones you choose.

Just curious, can you explain what you mean? Thanks :)

Neumann mics are famous because of several factors. They are generally well made and last a lifetime. Each model sort of has it's own flavor. Sometimes this was by design and sometimes not. That isn't a bad thing. Folks like the different models enough that they are workhorses and industry standards. Mostly that the majority of Neumann microphones are not very transparent. The most common ones used for classical recording are probably the 149 or 150 (or M49, M50), the KM84, KM140 series, KM184 (slight rise in the high end), the TLM 193, and the U87. Most of the other mic's have a very pronounced aural signature to them that might be better suited to a different sort of music. Sometimes one wants a little color over a particular section so different choices might be made for spots. In the past I have used TLM 103s and 127s and 170s for orchestral and symphonic wind ensemble jobs. Of the two, I felt they suited the band more than the orchestra. Really, at this point we're getting into an area that Cucco or JoeH et al are better equipped to answer. Few folks know their way around an orchestra better than me, but they have the greater recording engineer knowledge. There are also some older threads that discuss the "coloration" of Neumann mics some of which were kind of shouting matches but never the less useful.

He means that the Neumann line of mics are specific designed for much of the models. Only a few are intended for all purpose use. That does not mean you cant use any Neumann for ANY source, its just that some are better than others for specific situations. Really, all mics are this way, its just that Neumanns are complete engineering packages....thus the price.

(*note to self........type faster)

Ah, OK - you're talking about coloration (or colouration over here :-) ).....I misinterpreted what you'd written - sorry about that.

Davedog, post: 300812 wrote: He means that the Neumann line of mics are specific designed for much of the models. Only a few are intended for all purpose use. That does not mean you cant use any Neumann for ANY source, its just that some are better than others for specific situations. Really, all mics are this way, its just that Neumanns are complete engineering packages....thus the price.

(*note to self........type faster)

Indeed, but then the same argument can be applied to the Schoeps capsules - hence the need for MK2, MK2S, MK2H etc.

I think there is generally a much greater spread in the tone palette from Neumann than from Schoeps, but I confess to having had much more hands on time with the Neumann line.

In as much as there's a greater range when taking into account the LDCs and the valve mics I'd definitely agree with that. There are times when I prefer Neumann to Schoeps SDCs and vice versa.

It'd be useful to know which models the OP has access to.

Schoeps, as a brand, are much more specific about their mics than Neumann. A smaller company, if you will, and a smaller footprint on what their specialty is. In large orchestral presentations you will find both of these being used hand and hand. B&K included. High end high-fidelity.

Davedog, post: 300820 wrote: Schoeps, as a brand, are much more specific about their mics than Neumann. A smaller company, if you will, and a smaller footprint on what their specialty is. In large orchestral presentations you will find both of these being used hand and hand. B&K included. High end high-fidelity.

Absolutely.

I tend to prefer Schoeps omnis over Neumanns (although I use KM183s a fair bit), am leaning towards KM143s over CMC621 (although the MK21 makes a very nice ORTF-like pair through M222s)....it's all down to choosing what works for what you want....however, for a fairly general purpose stereo pair that the OP might require, the options become more standardised IMO.

True. We maybe should have had most of this discussion in your thread Aural Reject! :wink:

you may look into having your mics in different polar patterns if the one you get allow this. that will greatly increase your ability to get a better sound. also the room room room is of great importance. im my live room i can record a drum set with a kick mic and a single overhead all the way up to full micing. so its a must to have a solid room

+1 on the room.

The room would definitely be my concern. As has been suggested, put alot of time and effort into placement of instruments and placement of microphones. I might suggest trying to rent a couple of nice ribbons for the job. Set the up as a blumlein pair (correct me if the name is wrong, two figure eights at 90 degrees?).

Good luck, would be cool to hear the recording when its done if you feel like posting it!