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NT5 Pair for Chamber Orchestra?
A couple of months ago I posted a thread here asking advice on the best technique to use with a borrowed pair of Rode NT5s for recording a small chamber orchestra (to accompany video). I received some wonderful advice from you guys and now the same orchestra wants me to record the audio at their next concert (obviously they must be deaf to want me again) ;-).
I'm in the position to purchase a matched pair of microphones such as the Rode NT5s. But would like to buy something with a little more flexibility (being a videographer) and better suited for chamber orchestra recordings. After scanning this and other forums, I can't seem to find a definite answer. Some are recommending Oktavas, some AKGs, and others say the NT55s. My budget is $500 for the pair, and they can be used as long as they fit into the budget. What would you guys recommend? I use a Mackie 802-VLZ3 mixer and a Macbook Pro with Soundtrack Pro to record (using the rca outputs on the mixer to connect the two). |
A pair of small-diaphram condenser mics in a cardoid pattern are arguably the most useful and versatile tool for recording small ensembles of acoustic musicians.
Properly set up in X/Y or ORTF configurations, they do very well. In my opinion: Oktava MK012 with cardoid capsule are good, though the cap is almost a sub-cardoid. Rode NT5 are very good. AKG modular series with cardoid caps are very good. No bad choices. Were it me, I'd go NT5. If you need the modularity to stick on a supercardoid cap, AKG. If you really need a stereo mic for field video use (where dealing with two mics on a stand would be difficult), some sort of M/S mic. |
One for the NT5!
Thanks Seth! I really appreciate your input.
I've used the NT5s in an ORTF config before and they performed quite well that way. I do own a Rode NTG3 shotgun mic and use it a good bit with video already. The fact that the Oktavas are in the budget and can be upgraded with different capsules is intriguing. What about SE Electronics? Some folks on other forums mention them. Okay, so one for the NT5! Anyone else? |
For the price the NT5 are a good choice - and you can also use the omni heads from he NT55 in them (just buy them as spares).
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Two for the NT5!
Really?! I didn't know you could change the capsules on the NT5. That's wonderful!
Thanks John! Okay, so two for the NT5! |
I use the Rode NT4 stereo mic, and really like it for it's simplicity. Yes it's fixed to XY, but that's what I need. The NT4 has the same capsules as the NT5, and of course they are matched. For more coverage I put the NT4 in the center, and an NT3 on either side pointing in.
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I don't know of anyone specifically offering matched pairs, but I prefer my AT4021 ($249 each) to my NT5 mics generally speaking.
There isn't much variance in AT mics. I'd bet you could be fine in stereo with two mics ordered together from any large vendor. |
To add to that, Rode mics (and most likely many mics) are produced with such precision, that they are close to matched no matter what two you put together.
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One for the NT4! And one for the AT4021!
Thanks Chad for the advice on the NT4. However, versatility would be a problem for me if I were to purchase one, as I couldn't separate them for other uses.
Hmm. You have a very interesting suggestion, Jay. Especially since you have both the NT5s and the AT4021. What would you say renders the AT4021 superior to the NT5? |
I've been selling Chinese microphones here in the UK - and I'm having really good results from
DWH-502 I'm not touting for business as I only sell to the UK, not US - but if you could find someone in the States who sells these, you'd be very happy. M/S or various other techniques are quite possible. I really like them and they're really very cheap. |
Thanks Paul, that certainly is an interesting alternative! But going with M/S would mess me up a little as it tends to pick up the audience more. Definitely something to remember though.
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Robert, a little tip to make your mikes a little more versatile, is that if you're using cardioids, you can lift the LF response by turning them into omnis simply by wrapping tape around the side vents. If you get a little bit closer to the orchestra to compensate for more audience noise, you may then find an overall improvement to the general balance, but you would need to experiment with placement etc.
The difference between an omni & a cardioid pattern is approx 1.4 times the distance as far as side pick-up is concerned. In other words an omni needs to be about 1.4 times closer for the same amount of audience sound. However, you will achieve improved bass response with the omni configuration. I use AKG C451's for classical groups but these are probably out of your price range. RonC. |
So Ron, you're saying that if I bought a pair of Rode NT5 mics and put some gaffers tape over the sound vents on the sides, it would turn the mics from cardioids into omnis?
If that's correct, then I should place the mics 6 feet behind the conductor instead of 10 feet? This would not only increase the quality of the sound as it would be closer (therefore capturing more detail) and it would increase the bass response? |
That's it, but I use electrical pvc tape as it is easier to handle and you can stretch it as you wind it on to make a neat fit with several layers. The AKG's are very detailed and I would try to get even closer than 6 feet with omni's, but I'm sure a bit of experimenting will produce very good results, particularly if the audience is quiet.
AKG C451B - Pencil Condenser Mic 2895 Z 00010 - B&H Photo Video RonC. |
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Well Ron, I think you just opened up a new world to me with taping the mics (with electrical pvc tape). Thank you!
The AKGs really are too much (monetarily) for me right now as video/photo equipment is more of a priority. Yes, you are absolutely right, Richard. I always try arrive early to make sure everything is technically sound before the performance. There will be a full rehearsal the day before and a touch-up right before the concert, so that will give me plenty of time to experiment. I like to have the input of the pros on placement, just for insurance. What would you guys recommend on reading material? I was recently recommended "Mastering Audio" by Bob Katz. But what about recording books? (yeah, I've read Home Recording for Dummies already) |
Getting back to my comment regarding the AT4021 versus the Rode NT5. To be most accurate I should say I prefer my AT3031 mics to my Rode NT5 pair, and I prefer my AT4021 to my AT3031 mics.
Technically I haven't compared my 4021 directly to my NT5's, but the AT mics do have lower self-noise and higher sensitivity. Generally speaking all these mics have a pretty similar character that would be sufficient for successful recording no matter which you picked, but the higher signal to noise ratio of the AT mics, along with a little better bass response, and the switches for roll-off and attenuation make them the mics I usually pick when I'm packing to record. Plus the AT4021 fit your mentioned price point and I've been very pleased with mine. |
After looking at the AT4021 mics, they do seem to be better than the NT5's. But one guy (see link) says that using the AT4021's as a stereo pair brings about unusual off-axis imaging characteristics. http://www.amazon.com/Audio-Technica-AT4021-Cardioid-Condenser-Mic/product-reviews/B001XWBX1Y/ref=cm_cr_dp_all_summary?ie=UTF8&showViewpoints=1&sortBy=bySubmissionDateDescending
I'm almost sold on the AT4021's, but the off-axis imaging is the only thing I'm concerned with. What do you think, Jay? |
At taperssection.com it seems that the AT4051b mics get some love. They are cool because with the modular caps you can buy the hyper caps too and use them for production audio in film. I have the AT4053b hyper, and I was thinking about getting one AT4051b, and a second 51b cap to use for live music recording. They are great mics, but are underrated, or just not known about.
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Interesting comments. Since I only own one of the AT4021, I can neither agree nor dispute that review for stereo techniques.
Generally speaking it is true that as the frequency gets lower a directional mic does behave in a more "omni" fashion. The same is true that as the frequency goes up, omni mics become more directional. Apparantly he feels this mic doesn't have this characteristic? I can only say that I know of nothing unusual in the mic's construction or marketing that would point to it being out of the ordinary. I haven't noticed anything unusual in the off-axis response of the AT4021, but I've mostly used it in spaces and with subjects where there is very little off-axis response to begin with. The polar plot doesn't look unusual. This mic has only been available a couple of years, so it doesn't have the wide user base and reviews that many other small-diaphragm condensers have. I can only say I like the sound of mine. |
AT4021 wins!
It seems that if there are any disadvantages to a pair of AT4021's, they still outweigh the NT5's advantages. And since I would most likely end up using them as individual mics for the majority of the time (instead of stereo), they will be a good bit better than the NT5's.
Thanks guys for the spectacular advice on these microphones! I really appreciate it! Hope you all have a great weekend! Anyone else want to comment on the AT4021? |
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Yes, in theory, blocking the rear entry ports of a directional mic. will turn it into an omni. However - the diaphragm of a directional mic. is normally at a different tension from an omni and everything will be optimised for a pressure-gradient mic. rather than a pure pressure mic. (which the omni is). |
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You'll be operating the mics outside their designed specifications, in direct contradiction to the user manual .. and voiding the warranty. Cheers. |
Well, it does make sense to use the mic as intended, I guess tape won't be happening. So, would you recommend a mic that would provide a better sound for an orchestra like an omni, but can still be used as a cardioid? (within the budget, of course)
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The AT4051b is a Card, but you can get omni & hyper caps for it. Sweet sweet mic! Best mic for the money.
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I'd really love to buy it, Chad. But I can't buy it as a pair, as it's way too expensive for me.
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The AT4021 is still a great cardioid at half the price. Just no changeable caps. I have not studied it, but I suspect that the 4021 capsule is the same as the 4051, only not exchangeable.
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An alternative is the Sontronics STC-1S stereoset + a pair of the optional Omni Capsules. |
Hmm. So it is possible to swap out capsules on the NT5?
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NT45-O according to the Rode website
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Pattern v. Placement v. Balance
Just wanted to chime in and offer a few clarifications:
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However, the advice concerning omnis has its own complications: Quote:
Additionally, being closer will result in a harsher sound on the strings. If you are recording an amateur or scholastic orchestra, this is often the opposite of what you want! If the room sound is awful, you may try EQing and adding reverb in post, but just remember that closer does not always equal better. You will also change the balance of the sections of the orchestra (violins : violas : low brass : etc etc) as you get closer. Every time you cut your distance in half to your source, you increase your signal by 6db. Because we cut our distance to the front of the orchestra from 17ft to 10ft (1.7:1), the instruments front row of instruments received a 4-5db boost. However, our distance from the instruments in the back only changed from ~47ft to 40ft (1.175:1), resulting in a boost of less than a decibel. So what's the real trick here? It's knowing what an orchestra is supposed to sound like, and then choosing you mic placement and/or polar pattern based on that sound. It will change from space to space and from group to group. This is the REAL reason why a versatile microphone might be useful. All of the mics that have been mentioned can get good results on orchestras. If I were in your position, I would strongly consider the Octava MK012s because of their price, quality, and availability of cardioid, omni, and HYPER-cardioid caps all in one little kit. Better yet, team up with an audio engineer in your area for the best results, but it can't hurt to have some decent microphones in your locker for solo gigs. For those of you that are interested in learning a little more about issues like this, check out DPA's Microphone University: DPA Microphones :: Microphone University - The Essentials Especially this graph: http://www.dpamicrophones.com/en/Mic...e_distance.gif Or Audio-Technica's page on the matter: Audio-Technica - Microphones, headphones, wireless microphone systems, noise-cancelling headphones & more : What's The Pattern? |
You've made a couple of really good points! Thanks for the post.
I guess there's areason why the orchestra is structured the way it is with brass and percussion etc in the back! Also - if the orchestra is any good, the director has it balanced so it sounds great right where he is - mf for the back isn't quite the same as mf for the violins and folks in the back have to almost lead the beat to keep balance. I play in the back row and we're always being yelled at for being behind even when we're right on the beat - have to get a bit ahead of it when you're in the back and have a slow-speaking instrument to boot! So you're right on with your comment re having to know what the orchestra is supposed to sound like and knowing the particular group you're recording and the space itself. By the way, thanks to your post an analogy occurred to me. A telephoto lens on a distant camera will "flatten" the image more than a wide angle lens close up. Just like a hyper at 2X the distance will flatten the group more than an omni close up. |
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Folks would be better off spending their time on something else rather than trying to 2nd guess any long established pro mic designers. Cheers. |
Great! Now what about a mixer?
Thank you Christian, Jim and Allan! I’m receiving a wonderful education on sound and orchestra just through reading your words.
A few weeks ago I went ahead and bought a slightly used Rode NT5 matched pair for $244! Two for nearly the price of one new NT5 at $219! eBay is awesome. Taking previous comments into consideration, I realized that a cardioid would be better for this particular orchestra as they aren’t very good–backing away would help blend any performance issues and a cardioid is necessary to keep audience levels at bay. Now your recent comments confirm this! So when I need an omni or two, I can just buy the NT45-O capsule(s) and be ready to go! Right now I have a Mackie 802-VLZ3 mixer that I really like, but it would be great to have a digital mixer so that I can record individual tracks right into Logic or Soundtrack with my MacBook Pro. The Mackie Onyx mixers seem really nice and can be used to plug into my laptop or even my 5D Mark II (via an attenuator cable). What do you guys recommend for, say $500? |
Hello Robert. Sounds like you are moving onward and upward.
Since you are doing audio for video, I would steer away from laptop based interfaces. After all, you don't want to bring a computer to every gig, and you want to make sure you get something that is as versatile as possible and will last you a long time. To that effect, try taking a look at the Edirol R44, Tascam DR-680, or even higher-priced units geared towards the video community by Sounds Devices. A stand-alone unit will go with your where-ever you go, from concerts to interviews to short-films. And if you are just doing two tracks right now, then there definitely isn't any advantage to a computer interface. |
NT5-Mactahed pair FS in Classafieds
BTW, since we were on the topic of the Rode NT5, I wanted to let everyone know that I just listed a NEW matched pair of Rode NT5's in the classified section.
http://www.dvinfo.net/forum/private-...ml#post1572450 |
For 90% or more of what I do 2 channel is fine and I use a Sound Devices 702. For the occasional time whem I ned more mics I will record my main stereo pair into the SD702 as usual and then run the output of the 702 into a Mackie Onyx FW interface and run single instrument mics into the same interface and then record in Cubase on a Mac. Advantage is that I have my main stereo pair on the SD 702 a well as the Mac so I'm reasonably well covered and only the additional instrument mics depend on the Mac. And I run everything on an APC battery backup power unit for insurance.
I could get a larger SD unit, but the cost isn't really justified for the rare occasions whn I need more than two channls. |
Mastering Opinion(s)?
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Thanks again guys for all your advice and input on this. I ended up buying some nearfield monitors (Mackie HR624 mkII) instead of a digital mixer.
The recording and performance went splendidly on Sunday, and I'm finishing up the mastering (or tweaking, in my case) now. But there's a rather strange phenomenon that's happening. As soon as I begin playing any piece of the recorded music, my eardrums act like a low pressure weather system moved in. It doesn't happen to other music. It doesn't matter what volume, nor what audio system I play it on. I think it's just some frequencies are too pronounced, but I haven't trained my ears to identify equalization problems, being a video guy. Would you guys listen to my attached file and tell me what the problem might be? And whatever else you find wrong with it too. |
To me it sounds like the low end is lacking. Your 256kbps file hung up for me, so I'm listening to the 128. The brass is the most prominent thing on this. I would start with a flat EQ curve. Try boosting the lows at around 120hz go get the articulated notes of the bass, and maybe 70-80kz too to get some oomf. Perhaps a little high end boost to ad some "air" to the spectrum.
Not sure what do do about the brass. Maybe there was just too many of them? Or too few strings? The brass is more on the right channel. so perhaps a multiband compressor on the right channel focused on the frequency of the brass, to sort of pad that down in the loudest sections, yet leave the rest of the orchestra alone, effectively bringing up the strings. Listen to it at a low volume, and at medium volume. If you are mixing too loud your ears will get tired and start acting like a compressor, effectively lying to you. Make sure your ears are even in height with the tweeters, and that your monitors form an equilateral triangle with your head and eachother. That is the sweet spot. Angle the monitors in towards your ears. You say this was recorded with a pair of NT5s? I have an NT4, with has the same capsules. I know how conductors can be, but if you can get a couple more mics near the sides you could get the bass and strings better represented. Overall it's a nice recording, but the Brass is the prominent thing here. I would go to a practice and experiment with placement, taking notes so when you get the recording back in the studio you know where the mic(s) were on the best recording. |
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