[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: [ARSCLIST] How not to mike an orchestra
RCA 77 D's, if memory serves. They are visible in some of the photographs that he took at the time. Everything from Fred McDowell and his guitar (and his friend's comb) to the 150+ voices of the Sacred Harp recordings was recorded with them.
The Library of Congress
101 Independence Ave., SE
Washington, DC 20540-4696
>>> Don Cox <doncox@xxxxxxxxxxxxxx> 1/3/2008 6:53:24 AM >>>
On 03/01/08, Steven C. Barr(x) wrote:
> Well, as a (very part-time, blues...) musician, I'm quite happy with
> the first recording I cut...more than one mike, because the tech staff
> had no idea how else to record a band, but still "live off the floor,"
> done by recording two takes of each tune and keeping the better one!
> If/when I get another opportunity to record, I'd like to do one with
> two mikes (one per channel), "live off the floor" and NO overdubs or
> such stuff! It has always been my experience that when overdubbing
> exists as a possibility, the participating musicians are ALWAYS
> convinced they can redo their solo just a tiny bit better...ad
> infinitum/nauseaum, if time and budget so allow...!
> All the blues hits we now know and love were recorded straight
> to a master (one or two tracks as needed)...if it was good enough
> for them, it oughta be good enough for me, eh...?!
IMO Alan Lomax got a good sound from a variety of different groups of
musicians on his "Southern Journey" recordings. He used two ribbon mics.