Recording approach advice?

[Freaky Freddy]

Hey Folks,
I am doing a recording of an ensemble (Voice, Percussion, Piano, Violin, Cello, Clarinet) doing modern, contemporary music (sometimes a huge dynamic range, sometimes nothing at all, very unpredictable) in a medium size auditorium. I was wondering, if any of you could offer some advice on how you might approach this with my limited gear:

2 akg C414B-XLS II
2 akg C4000

I have done some research but was curious about any advice from fellow dper's.
I was thinking about using a mic setup of two xy in front and two off to the side to get a sense of the room. How might you approach this problem to get a decent sound?

Thanks

Freaky

[HCMarkus]

So much depends on the roles each element in the ensemble plays... and the performers' musical sensitivity and ability to blend.

Your suggested approach may be the best one, or maybe use each C4000 to capture a closer blend of stage left and right respectfully. You can always add ambience after the fact with a convolution reverb. You might consider dedicating the C4000's as spot mics, placed so the mobile performers can approach a mic when their instrument is featured, thus giving you some ability to mix, but this approach usually works best when the performers are monitoring the mix as they perform. On the other hand, borrowing a few mics and dedicating one to each performer (plus the stereo pair that captures the natural mix in the hall) would be best, and all mics could be handled by a single 8 channel pre.

Did I mention that so much depends on the roles each element in the ensemble plays? Bottom line: be there, set up and recording, for rehearsal and use your ears.

[Nigel Keay]

Just on the information you've given I'd tend strongly towards grouping the violin and cello together and having their own mic, preferably a bit separated from the clarinet. When everyone's going for it at fortissimo (if and when that happens) it'll certainly be the violin and cello that are the most disadvantaged dynamically in the context of that group; they're usually the type of instrument that carries important melodic material.

So, after the stereo couple in front to capture the entire ensemble that would only leave one other. How much percussion? And how deep on the stage would the ensemble be? Maybe the 4th centre at back behind the group. That might work depending on how the piano was placed and angled.

[Freaky Freddy]

Thanks for the tips HCMarkus and Nigel,

Ideally I would like to mic each instrument, and will contact someone I know to
try to borrow some mics. It will take some careful placement of the mics and also
trying to go through the score and identify the main areas of focus in the music.
If some instruments stand out more I will probably try to mic them up on a 'spot'
to bring it out. Rehearsals I certainly will attend. I will also look into investing in
a few more mics in the near future when money is free, since I have pres to use.

Hopefully I can pull something useful together.

Thanks

FF

[nick danger]

If your goal is to capture the full sound of the group, you have easily enough mic quality and capacity to do so. If you think you'll want to do more in your final mix than just the ability to pan, miking each instrument as discretely as possible would be better.

[mhschmieder]

Don't overlook a Blumlein pair, if you've got a really good room:

http://en.wikipedia.org/wiki/Blumlein_Pair

http://www.recording-microphones.co.uk/ ... ereo.shtml

http://www.eqmag.com/article/blumlein-p ... l-07/29600

I've actually never used this approach myself, as I have yet to work in a really good room. I have afeeling you're working with a good room though, so it's worth considering, if you have figure-8 patterns available.