MASTERWORKS Concert: Series 4

[Allan Black]

Another fine concert from the Helena Orchestra in Montana, in their Masterworks Series 4, this lasts a total of two and a half hours.

Be aware this video presentation is direct from their streamed telecast, so the Tchaikovsky Romeo and Juliet overture starts at 19.55.

So fast forward in, well past the orchestra tuning up …

MASTERWORKS CONCERT IV: Romeo & Juliet - YouTube

For lovers of the Berlioz Symphonie Fantastique, the three movements start in at 1:24:00.

Get comfortable and enjoy.

Cheers.

[Allan Black]

To record the concerts, sound engineer John Murphy uses a 20 input Zoom mixer and auxiliaries, and all RODE mics.

A very interesting set up to get the great results he does. Hopefully he’ll describe it.

Cheers.

[John Murphy]

Thanks Allan. The Zoom L-20 is a very capable mixer recorder. On occasion I’ll run out of inputs. When that happens I’ll run mics into the F8n. Then into the zoom L-20 line in. On Rossini’s Stabat Mater I was using 20 mics.
All of the mics I normally use are Rode half inch condenser style. NT5, M5, M3, NT1(one Inch) . One mic per two players would be the ideal, but budgets don’t allow. I generally capture 4 instruments per mic. It takes some time to get a nice balance between two flutes and two clarinets, but it is doable.
A wise man once told me the worst mic in the best place is far better than the best mic in the worst place. Thanks Allan!

I'm located a hundred feet or so off stage in a blind room. You can do the job without the video monitor but it makes the work much easier.

JM

[Allan Black]

Hi John interesting set up, the results you get are great, a couple of more questions thanks.

How long does it take to set your 20 mics. up, and how long before the concert do you do this?

I know it varies, but how much rehearsal time with the orchestra do you get to set your mic balances?

Take this latest 4th concert as an example?

Cheers.

[John Murphy]

I usually spend 2 to 3 hours of pre-planning my layout. Watching other performances to see what’s coming. Who has solo’s etc. Then I lay out my plan on paper. This is when and where I decide specifically what mic goes where.
The day before first rehearsal I go to the venue and layout my 16 channel snake. 12 sends, 4 returns. If I’m hanging overhead mics I’ll do this as well. If I need more inputs I run single lines. I set up my mixer, compressor, etc.
I can not actually set the mics yet because the symphony has not set the chairs in place on the stage.
Day of the first rehearsal (Thursday usually) I arrive at whatever time the stage crew is coming in. They start setting chairs so I can start laying in mics. Once they are done, I run cable to all the mics and tape everything down with gaffers tape. By this time rehearsal is not far off. I double check all of my positions then I usually have time for a cup of coffee and a sandwich. Rehearsal starts at 7 PM goes till 10. This is my first listen.
Second day (Friday) I arrive 1.5 to 2 hours ahead of 7PM rehearsals. Double check all positions, SOMETHING ALWAYS GETS MOVED! 7 to 10 PM rehearsal. By now I’m getting a pretty good feel for the show
Saturday I arrive at 9 or so for 10AM rehearsal which is usually a run through. This is the first time I hear the music from beginning to end. Ends at 1PM. Go have lunch, find time for a nap and head back to the venue by 6 or 6:15 PM for 7:30 Show.
Show is over by 9:30 or 10PM. Wrap everything, come home, unload, watch most of the show and call it a night.
Sunday finish unloading. Create CD’s for the symphony.

Get ready for the next show. J