It's not even all the brass dominating, - it's the trombones (noisy b*gg*rs by nature - I should know!) and just occasionally the horns. The trumpets are as distant sounding as the strings for the most part.

I listened with the bass end boosted and it improved the sound but I think it's mainly a question of the musical balance - at least from the perspective of where the mics were placed. It sounds like the trombones were pointing more at the mics than the trumpets were, but it may be more the distance or even the playing. I would have a better idea if I could see a pic of the orchestra and where the mics were.

I think the suggestion of trying out different mic placements at a rehearsal is very sensible. I'm not sure if reducing the frequency range where the trombones operate (approx 80-500Hz fundamentals) on one channel would help but give it a try. Double Basses operate right down to about 40Hz for a normal 4 string bass or even lower for a 5 string but a lot of the character of the sound is from the harmonics.

BTW I couldn't get the 256 bps file to be recognised either.

Thanks Chad! I adjusted everything you suggested, save the compression on the brass. I spent 45 minutes playing with it, but it wasn't very natural for the piece. At the end I remember having a conversation with the conductor who said this music by Schubert has an unusually high range to it, so I think I'll preserve the original dynamics in it.

Attached is the new file, with a compromise in size (apparently anything over 16mb gets stuck on download). The compression reduces the depth and air considerably, though. It has a different name (the other one was incorrect).

From an equalization perspective, is there anything else I can do to enhance it?

EDIT: Sorry Colin! I posted mine before reading yours. The mic placement was about 10ft behind the conductor and about 13ft high, the mics were pointed down at the strings, but the woodwinds and brass were on separate higher levels with lovely 3ft walls behind each, so some frequencies were resonating more than necessary. It was in a church.

I'm not sure what exactly you did Robert, but it sounds like there is more bass and the strings are coming through better.

If you had iZotope RX, you could remove any coughs from the audience or clicks in the room. You could even select only the offending horns and reduce their gain by 2 or 3 db, but as it is it seems better.

Nice work!

I thought that latest file was better. I boosted the bottom end a bit more and enjoyed listening to the performance which has a lot of good playing in it. There's still a lack of definition from the bottom end (basses and timps particularly) but I'm not convinced you can do much about it (harder timp sticks might have helped in that acoustic and I suspect there's a bit of fumbling in the basses at times and a fair bit of resonance is evident). The trombones are still very prominent but that's how I llke it! It's a great piece (pun on symphony title intended) - thanks for sharing.

Since KSM 141s were mentioned in this thread, as is orchestra recording in general, I thought you might be curious to hear this sample of a recording I did recently.

KSM141s in omni, about ~40cm apart, angled 90*. Rode NT5s on the woodwinds, ~20cm apart, angled ~100*, very low in the mix.

...


Strike that. Why can't I upload mp3s? Additionally, I can't upload the 10mb .wav due to file size limits.

I had problems with uploading earlier as well. Try CloudApp. It works really well.

CloudApp

I would really like to hear your recording!

If you want to e-mail them to me I can put them on a web site where folks can listen/download. I THINK I can receive a 10MB file - but it wouldn't hurt to split it in two. and send as two separate files.

KSM 141s / Rode NT5s
 

OK, well since this is DVinfo.net, I figure you all would rather hear it with the video anyway. Below, you will find clips of a concert recorded with two Shure KSM 141s in AB omni (mains), two Rode NT5 in at 90* ~20cm (woodwinds), and two AT4050s (flankers). The 141s form 90% of the mix. The AT4050 were in figure-8 for the piano concerto (nulls towards the piano) and in omni for the symphony. I brought up the NT5s only when the woodwind solos warranted it. All mics are visible in the video if you look closely. Please listen in at least 480p. The focus of this recording was the audio.

Barber's Piano Concerto, Mvt. 1: YouTube - UNC Symphony Orchestra - Barber Piano Concerto: Mvt. 1

Brahm's Symhony No. 2, Mvt. 4: YouTube - UNC Symphony Orchestra - Brahms Symphony No. 2: IV. Allegro con spirito

Speaking from experience, I do not like the 141s in cardioid on orchestra. I do like them in omni on orchestra.

Both of these pieces are amazing, by the way.

Well done! That's really nice. Good dynamic range, good bottom end. Nice brasses, nice balance. Top end felt a little closed off, not as opened and airy as it possibly could be -- but that could be the hall, YouTube compression, whatever. The thing is, if sounds pretty neutral and uncolored from top to bottom. It sounds like a symphony orchestra sounds.

Again we learn the lesson: It's not just the equipment, it's knowing how to use it. And it sounds like you know how to use that equipment to make a first class recording. Good on ya!