I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

You don't need to "understand" why someone feels that way, just acknowledge
that they do and cut them some slack.

If a close mic makes her uncomfortable, she might not sing as well. She
might also feel that close miking does not present her voice in its best
light.

You might ask her to make test recordings both ways, and let her choose
which she prefers.

William Sommerwerck wrote:

If a close mic makes her uncomfortable, she might not sing as well. She
might also feel that close miking does not present her voice in its best
light.

If she's a trained (and practicing) opera singer, she's singing for an
audience, not a microphone. It's best to pull back several feet and let
her do her thing. Put a mic too close and the next thing you'll want to
do is compess and limit. Just let her bellow. It'll sound like opera.

Now, if she's an opera singer singing something else, that's a
different story. Just like learning how to sing opera, she'll have to
learn to sing what she needs to sing.

William Sommerwerck wrote:
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

You don't need to "understand" why someone feels that way, just acknowledge
that they do and cut them some slack.

If a close mic makes her uncomfortable, she might not sing as well. She
might also feel that close miking does not present her voice in its best
light.

Also remember that trained vocalists learn to make their voices radiate
from a much larger part of their bodies than do typical untrained
singers. So while you may be fine capturing the sound from the mouth of
a pop singer, for an opera singer you may need to capture sound from as
low as the rib cage and diaphragm up through the nose and sinus area.

Remember, proper operatic singing technique is specifically intended to
project to the back row of a good-sized hall without assistance, while
competing with orchestra. (It's been described as "a controlled
scream".) I submit that you don't _want_ to close-mike that; not only
will you make the performer feel crowded, it's simply the wrong way to
treat the instrument.

wrote in message
oups.com
I've had to record this female operatic singer a couple
times and
she always gives me trouble. See, I like to get the mic
about a
foot off the singer but she says "I don't like to have
the mic that close" and she insists it be back about 3 or
4 feet.

The key question is not what her preferences are doing to
your ego, but what they are doing to the recording.

If the room is quiet and not too live, you can pull this
off, right?

Its not just opera singers. One of the recording engineers
for Motown told me that in the Detroit days, they always
recorded the vocals with the singer standing about 4 feet
back from the mic.

Solves a lot of problems with breathing sounds and popping,
right? ;-)

My thought at the time is: you do the singing, I'll do
the recording. But I've just seen mention of this same
thing happening to someone else when dealing with an
operatic singer.
Anyways, I was wondering if anyone else has come across
this?

I did SR for a wedding where the singer decided to stand way
back from the mic during her solos, after working closer
during the sound check. This was in a nasty, highly
reverberent room where the main cluster is almost right over
the front steps of the platform. So feedback was a serious
concern. But, you don't have that worry, right?

Is it something about operatic singers? Just trying to
understand why they don't want to be close miked.

In article .com,
wrote:
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.


Because they aren't _supposed_ to be close-miked. The sound of the
performer in a hall is as much the sound of the hall as of the performer.

In the case of some of them, especially bassos and baritones but even
tenors and occasionally altos, a lot of the sound comes from the chest
as well as the mouth anyway. So miking the mouth only gets part of
the sound. When operatic singers _have_ to be miked for PA, usually
you will see a chest mike and a mouth mike both used.

Personally, I think 3 or 4 feet is probably too close for a classical
singer in a good room, but stick a finger in one ear, walk around the
room and listen with the other ear. You want some ambience, but you
don't want so much ambience that you lose intelligibility. But the room
needs to be part of the sound.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.

Which will obtain the proper sound for bel canto singing.

My thought at the time is: you do the singing, I'll do the
recording.

How about "You pay my fee, I'll do whatever you request."

But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

This is always the case. It's one instance where the singer really does
know what she's talking about. An operatic vocalist is capable of
incredible SPL & dynamic contrast, & you really really don't want to be
right up on top of that.

Scott Fraser

Scott Fraser wrote:
This is always the case. It's one instance where the singer really does
know what she's talking about. An operatic vocalist is capable of
incredible SPL & dynamic contrast, & you really really don't want to be
right up on top of that.

I know of at least one situation where a performer, after repeatedly
saying "get that out of my face" and not being listened to, belted out a
note that destroyed a mike.

Sometimes the artist really DOES know better. Be prepared to learn from
some as well as to teach others.

wrote:

I've had to record this female operatic singer a couple times and
she always gives me trouble.

No, you give her trouble.

See, I like to get the mic about a foot off the singer

Yes, but this is a Singer, not a singer.

but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.

Musician comfortable = possiblity of good recording.

My thought at the time is: you do the singing,

She needs the room.

I'll do the recording. But I've just seen mention of this
same thing happening to someone
else when dealing with an operatic singer.

I have recorded Elijah with just a pair and co-recorded Ein Deutches
Requiem in the Great Hall at Kronborg with no problems getting soloists
as well as choir right. Just what problem is it you address with that
mic?

Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers?

They can Sing.

Just trying to understand
why they don't want to be close miked.

Many reasons have been mentioned, one more is that they need the room
for their Stage Ego and they need their Stage Ego to sing. If the
practical and musical reasons do not persuade you, that one ought. Do
not discuss with an artist when the Stage Ego is powered up.


Kind regards

Peter Larsen

--
*******************************************
* My site is at: http://www.muyiovatki.dk *
*******************************************

wrote:
: My thought at the time is: you do the singing, I'll do the recording.

Sorry for the upcoming rant, but after spending about 20 years on the
musician side of this, I came to really resent this attitude. Does the
engineer really think that after years of recording MY kit, that I wouldn't
have some concept of how my drum set likes to be miked, and what sort of
sound I prefer?

Furthermore, as a jazz musician, I invariably encountered engineers who
wanted to mic my kit like a rock kit. I can only imagine what classical
musicians face when they enter a studio.

It was a rare and much appreciated treat when the engineer asked for my input.

Scott

wrote in message
oups.com...
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

1) Because that's not the prevailing practice. You pushed against her
cultural norms.

2) Because the sound takes some space to develop, and includes more room
sound than the average pop singer.

3) Because she's loud enough to overload almost any microphone, and she
knows it.

4) Because she's an opera singer. What's the difference between an opera
singer and the P.L.O.? You can negotiate with the P.L.O..

So back off, both literally and metaphorically.

Peace,
Paul

A quality small diaphragm mic from about 10 feet,with a good room, works
well in this situation. Check it out!

Why are opera singers the most egotistcal of vocalists?
When you're singing, mi mi mi mi all the time, you start believing your own
hype!

Tom




"Paul Stamler" wrote in message
...
wrote in message
oups.com...
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

1) Because that's not the prevailing practice. You pushed against her
cultural norms.

2) Because the sound takes some space to develop, and includes more room
sound than the average pop singer.

3) Because she's loud enough to overload almost any microphone, and she
knows it.

4) Because she's an opera singer. What's the difference between an opera
singer and the P.L.O.? You can negotiate with the P.L.O..

So back off, both literally and metaphorically.

Peace,
Paul

On 6 Dec 2005 03:39:18 -0800, wrote:

I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
---Right---
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
-- If you pop her or him in a cabin and tuck the headphones on her/him
and set pop filter and close up that fat mic... then yes, it might be
true, these things will happen.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.
'Cuz they sing loud, they are constantly being trained to sing loud.
If they fail to train in maintaining their full control over such loud
singing, they are out.

Your mic wouldn't like to be in their close vicinity neither. Gosh,
opera singers hate close mics and they are right. They don't know how
to behave in front of one. Should they move to or from, and then how
near or far etc.

Get that thing away from them! You're recording everything not only
her voice. If you absolutely have to close mic them, avoid large
membrane and ribbon types.

Distant miking, I just like it.

Edi Zubovic, Crikvenica, Croatia

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On 2005-12-06 said:
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
Which will obtain the proper sound for bel canto singing.
My thought at the time is: you do the singing, I'll do the
recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.
This is always the case. It's one instance where the singer really
does know what she's talking about. An operatic vocalist is capable
of incredible SPL & dynamic contrast, & you really really don't
want to be right up on top of that.
This is right on the money advice for the op. My ex wife
was an operatic soprano and she could really belt 'em out.
I tried to teach her how to sing jazz and was amazed that
this opera stuff is all she got out of a master's program,
no learning about acoustics or mic technique for oding other
things. SEems to me that when learning that much with an
emphasis on pedagogy that other things should have been
introduced, but this was in the late '60's when these folks
didn't really want anything to do with so-called low-brow
forms of music.

YOu'll find with operatic singers that you want to record
them in a larger room. THe small vocal booth is not an
option for these folks.

regards,



Richard WEbb,
Electric SPider Productions
Replace anything before the @ symbol with elspider for real
email address.

A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and model, for
this type of recording?

Rory wrote:
A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and model, for
this type of recording?

Depends on the performer and the room. But if there is nothing _wrong_
with either, I'd take the goal of trying to capture the overall sound
as accurately as possible. And that means some sort of small diaphragm
mike, quite possibly an omni.

You will find folks here who are partial to the Schoeps mikes, others
who like the DPA or the Josephson Series Six. I am personally a fan
of the older B&K measurement-style mikes. Microtech Gefell also makes
some small omnis of similar design to the nickel-diaphragm B&K mikes.
Then again, the Neumann KM-100 series has something to recommend it.
All will do the job nicely enough, but they all sound a little bit
different.

I think the oratorio stuff I submitted to the last RAP set was done
with a pair of the B&K 2615 mikes in baffled omni configuration. Give
it a listen and see if you like it. It's very distant sounding, but
that's the way it sounded live.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

On 6 Dec 2005 03:39:18 -0800, wrote:

I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.

I had to do the exact opposite last week; SR for a very
young Amahl (and a girl in the role) in close proximity
to a real soprano as the mother.

Opera singers are not like we mere mortals; they *are in*
your microphones, even body-mic'ing lavs on somebody else.
Keeping them *out* is the issue sometimes.

If you put your ear in the place where your poor innocent
mic is going to be, for about one solid minute, you'll
soon appreciate the volume capabilities of a trained
voice. They're like atheletes; scary, extradimensional,
wonderful folks.

Good fortune,

Chris Hornbeck

"Rory" wrote in message
oups.com...
A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and model, for
this type of recording?

Can't say for sure without knowing more about the hall, not to mention the
layout of performers, but for a solo soprano a Neumann TLM-193 might be a
good starting point. Or one of several Schoepses.

Peace,
Paul

On 6 Dec 2005 03:39:18 -0800, wrote:

----------------------8------------------------

--As to loud singing; Claudio Villa, an Italian canzona star of the
sixties, entered into local legend as one who blowed the loudspeakers
at the Prokurative open theater in Split (in fact, an enclosed square
of the town of Split) where Festivals of Dalmatian songs were (and
are) taking place. Claudio Villa had a strong tenor voice. Recently, I
saw a photo of him from one of these festivals in the 60s and --lookie
this-- the guy was holding a Sennheiser 421 mic vertically! Now if he
has been singing into it _that_ way, it is no wonder that the
loudspeakers went bye bye.

I remember that Ivo Robic had always his own grey 421 and, not being
quite a crooner, he really did know how to use it. Sometimes he has
been holding it at his arm's length (Sennheiser 421 is a great mic for
human voice but it is not built as a soloist microphone and has no LF
roloff, neither by construction nor by a filter switch).


Edi Zubovic, Crikvenica, Croatia

"Rory" wrote in message
oups.com
A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and
model, for this type of recording?

It's my understanding that a LD cardiod is the tool of
choice for more distant micing of vocals.

Next time I have one of these to deal with, I'll fetch my
Rode NT1a.

Edi Zubovic wrote:

I remember that Ivo Robic had always his own grey 421 and,
not being quite a crooner, he really did know how to use it.
Sometimes he has been holding it at his arm's length
(Sennheiser 421 is a great mic for human voice

Not is, was, the version 2 is somewhat different.

but it is not built as a soloist microphone and has no LF
roloff, neither by construction nor by a filter switch).

Small Tuchel and Cannon, -n and -U have/had a bass roll off, large
Tuchel, -2, had not, nor had the -n's that KinoVox converted to -U's for
me, this because they used a custom rear and that screwed on as if it
was the -2 rear end. I still have a MD 21 with that conversion,
originally done for someone else. Very neat and very practical.

Edi Zubovic, Crikvenica, Croatia


Kind regards

Peter Larsen


--
*******************************************
* My site is at: http://www.muyiovatki.dk *
*******************************************

Arny Krueger wrote:
"Rory" wrote in message
roups.com
A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and
model, for this type of recording?

It's my understanding that a LD cardiod is the tool of
choice for more distant micing of vocals.

Not really. The issue is that when you're getting a lot of room sound,
the wonky off-axis response becomes a real problem.

Then picture in your head what happens when the diameter of the diaphragm
reaches a half wavelength at a given frequency....
--scott


--
"C'est un Nagra. C'est suisse, et tres, tres precis."

Arny Krueger wrote:

Next time I have one of these to deal with, I'll fetch my
Rode NT1a.

You may need a cleaner top end.


Kind regards

Peter Larsen

--
*******************************************
* My site is at: http://www.muyiovatki.dk *
*******************************************

In article ,
"Paul Stamler" wrote:

"Rory" wrote in message
oups.com...
A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and model, for
this type of recording?

Can't say for sure without knowing more about the hall, not to mention the
layout of performers, but for a solo soprano a Neumann TLM-193 might be a
good starting point. Or one of several Schoepses.

Peace,
Paul



I second the TLM-193. I've recorded several sopranos with it and always been
satisfied, as have the singers. I've also used the Schoeps BLM with good
results, although performers tend to ask, "is that a microphone?" when you use
those mounted on Plexiglas plates.

-Jay
--
x------- Jay Kadis ------- x---- Jay's Attic Studio ------x
x Lecturer, Audio Engineer x Dexter Records x
x CCRMA, Stanford University x http://www.offbeats.com/ x
x---------- http://ccrma.stanford.edu/~jay/ ------------x

"Scott Dorsey" wrote in message

Arny Krueger wrote:
"Rory" wrote in message
oups.com

A question for those of you who have responded...

What mic would you use, by type and perhaps by brand and
model, for this type of recording?

It's my understanding that a LD cardiod is the tool of
choice for more distant micing of vocals.

Not really. The issue is that when you're getting a lot
of room sound, the wonky off-axis response becomes a real
problem.

Well then I'll mount up some mics of various flavors and
listen to the results later on.

The classic level-matched, time-synched, bias-controlled
listening test with identical stimulus should be easy. ;-)

Then picture in your head what happens when the diameter
of the diaphragm reaches a half wavelength at a given
frequency...

Yes, the LD mic gets more directional at high frequencies,
a given. Seems to me that could be either the good news or
the bad news. ;-)

wrote:
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a
foot off the singer but she says "I don't like to have the mic that
close" and she insists it be back about 3 or 4 feet.
My thought at the time is: you do the singing, I'll do the recording.
But I've just seen mention of this same thing happening to someone
else when dealing with an operatic singer.
Anyways, I was wondering if anyone else has come across this?
Is it something about operatic singers? Just trying to understand
why they don't want to be close miked.

When I set up mics for a recording of Pavarotti with the
Metropolitan Opera, all the singers were a good 6 - 8 feet from their
mics (DG with Levine recording Verdi). That was in a large, excellent
sounding hall miced with a Decca Tree/M50's for mains, and they *still*
added reverb in on some mics.

Classical recording is a different beast than what you are used
to, closer doesn't sound like it should and can be extremely
challenging to the specs of many microphones and signal chains more,
more than I am comfortable with ( maybe not a problem with Millenia
micpre, but an SSL micpre watch out!) I found at 2 feet away it ain't
hard for an Operatic singers to distort a U87 at the mic, and even if
it doesn't crap out the mic often won't sound very good and the color
will be inappropriate for the style of music.

But again for Pop music or in a smaller room, you will tend to mic
somewhat closer than 6 feet, when I'm in TV studios I usually try 3-4
feet with a touch of reverb.

Will Miho
NY TV/Audio Post/Music/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits

"Peter Larsen" wrote in
message

Arny Krueger wrote:

Next time I have one of these to deal with, I'll fetch my
Rode NT1a.

You may need a cleaner top end.

I need a bigger bank account. ;-)

Arny Krueger wrote:
"Scott Dorsey" wrote in message

Not really. The issue is that when you're getting a lot
of room sound, the wonky off-axis response becomes a real
problem.

Well then I'll mount up some mics of various flavors and
listen to the results later on.

Definitely do it, and try it with ORTF or X-Y pairs which will tend to
exaggerate the problems since the direct sound is coming from
off-axis. You can hear the stuff going on even with a single mike
pointed at the performer, though.

The classic level-matched, time-synched, bias-controlled
listening test with identical stimulus should be easy. ;-)

For a really interesting thing, try the AKG 414 in all the
different possible patterns, and listen to how the character
and spectrum of the room sound changes, not just the level.
The effect is less pronounced with the U87, but it's not subtle
with any of the dual-diaphragm types.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

"Scott Dorsey" wrote in message

Arny Krueger wrote:
"Scott Dorsey" wrote in message

Not really. The issue is that when you're getting a lot
of room sound, the wonky off-axis response becomes a
real problem.

Well then I'll mount up some mics of various flavors and
listen to the results later on.

Definitely do it, and try it with ORTF or X-Y pairs which
will tend to exaggerate the problems since the direct
sound is coming from off-axis. You can hear the stuff
going on even with a single mike pointed at the
performer, though.

I have 3 X-Y pairs in use or idle and available most of the
time. Usually there is at least one sitting around. XY pairs
are interesting test equipment and also increase one's
options in the mix.

The classic level-matched, time-synched, bias-controlled
listening test with identical stimulus should be easy.
;-)

For a really interesting thing, try the AKG 414 in all the
different possible patterns, and listen to how the
character
and spectrum of the room sound changes, not just the
level.
The effect is less pronounced with the U87, but it's not
subtle
with any of the dual-diaphragm types.

Please see other comments about my need for a larger bank
account. ;-)

"WillStG" writes:

wrote:
I've had to record this female operatic singer a couple times and
she always gives me trouble. See, I like to get the mic about a

Watch out, Will! The koolaid drinkers and career haters will attempt to
make these your fault!

sounding hall miced with a Decca Tree/M50's for mains, and they *still*
added reverb in on some mics.

(...YOU can't have any reverb until you give away all of yours to
others, comrade...)

hard for an Operatic singers to distort a U87 at the mic, and even if

(...You have NO right to have any distortion until you yourself have been
distorted...)

vbg

Keep up the good fight.

But seriously, you're right about the 'verb and mic distances. Properly
trained (somewhat rare these days), the human voice is one of the most
powerful instruments relative to its size.

Depending on where the program is going, I might also add a little
low-ratio, inaudible-as-possible comp just to make things "fit" slightly
better.

Frank Stearns
Mobile Audio
--

One thing I have noticed, though, is that rappers never tell you to move
the mic back and opera singers never shoot themselves in the head with
pen guns.


Why is that?

--
remove 555 from address to reply

Paul Stamler wrote On 12/06/05 10:11,:
4) Because she's an opera singer. What's the difference between an opera
singer and the P.L.O.? You can negotiate with the P.L.O..

Uh, if you look at the history of the Israeli/P.L.O negotiations, you'll find the P.L.O. have not
negotiated. They've been intrasigent and given nothing, no compromises in thirty years of so called
negotiations. So while your post is amusing, it is wrong.

I'd rather negotiate with the opera singer because they don't blow themselves up when they don't get
their way.

--fletch

Peter Larsen wrote On 12/06/05 09:23,:
Many reasons have been mentioned, one more is that they need the room
for their Stage Ego and they need their Stage Ego to sing. If the
practical and musical reasons do not persuade you, that one ought. Do
not discuss with an artist when the Stage Ego is powered up.

Stage Ego... yeah, I've had to deal with that alot, and from musicians who have no business
strutting that thing out, either. But, you believe many things when people continue to tell you it
is so...

And it is so true that you cannot have any kind of discussion when the Stage Ego is engaged. It has
to be the most impenetrable shield known to humankind. Nothing gets through.

--fletch

wrote in message
t...


This is right on the money advice for the op. My ex wife
was an operatic soprano and she could really belt 'em out.
I tried to teach her how to sing jazz and was amazed that
this opera stuff is all she got out of a master's program,
no learning about acoustics or mic technique

What does mic technique have to do with opera ?

geoff

Arny Krueger wrote:

"Peter Larsen" wrote in
message

Arny Krueger wrote:

Next time I have one of these to deal with, I'll fetch my
Rode NT1a.

You may need a cleaner top end.

I need a bigger bank account. ;-)

There are smaller Røde mics, but you could go for the small Neumann, I
think it is the KM 184. Sounded real nice on wimmmen singer when I tried
a pair way long time ago, what sounded less nice was that they clipped
the inputs of my - then - unmodded A77 telegraphone, a legacy apparatus
using something just like gaffa, but smaller and not adhesive out of the
box, it had to be stored for a decade to get suitably sticky, to record
on by magnetizing it. Oh, and I was 10 feet away because it was in
Jaegersborg Church, a nice location with a modestly sized "bach type"
organ. DGG btw. liked that location back then, dunno about now.


Kind regards

Peter Larsen


--
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* My site is at: http://www.muyiovatki.dk *
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"Geoff@work" wrote:

What does mic technique have to do with opera ?

Opeara singers can always get 10 dB louder, even when you think they no
way possibly ever can.

geoff


Kind regards

Peter Larsen


--
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* My site is at: http://www.muyiovatki.dk *
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uh, dude.

reality check:

take a look at the Three Tenors, or the Irish Tenors.

Look where the mics are... about 3-4 feet away.

Maybe she knows something you don't.

Frank Stearns wrote in
:

Depending on where the program is going, I might also add a little
low-ratio, inaudible-as-possible comp just to make things "fit"
slightly better.

I have successfully applied enormous compression (5:1 up to 15:1) on
sopranos will only minor ill effects by limiting the monumental momentary
peaks.

A really qualified soprano can attack a high note at 20 dB above the
nominal level of the remainder of the note. Lopping off 80% of that peak
delicately had an audible impact on the performance--but only if you know
it was there. The trick is to leave enough to get noticeably louder, but
not enough to force the remainder of the concert into the noise floor.

In article .com,
wrote:
uh, dude.

reality check:

take a look at the Three Tenors, or the Irish Tenors.

Look where the mics are... about 3-4 feet away.

I might add that this is also considered close placement for PA work.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."