Absolutely! Can’t wait for the next episode. Is that Luke Bond again in the background? What’s the name of the CD? Seems to have some great stuff on it ..
This series is so well done. You are such an engaging host. Just the right length. Just the right amount of information. And just the right amount of mini eggs (I might need to go find some!) can’t wait for the next installment. 😊
I completely agree with Jerry, exactly the right amount of information. The part of placing the microphones is very interesting. Recording in such big cathedrals must be very difficult. I'm already struggling with placing a field recorder in just a Dutch village church (well, with a nice historic organ of course)
It's one of the most exciting (and nerve-wracking things) about recording an organ like this - getting the positions of the microphones is crucial, but I think I managed to get it about right. I'd be very happy to have your feedback on Episode 4 and/or the rectial when it goes live on 5th April. I'll be tweaking the mix lots between now and then!! 😃
I was at a recording I sponsored in Rochdale town hall in Sept, and the friend who is a organ recording engineer (99% SACD) with his own label, had some amazing mics, and as many have said, placement is everything, a few inches can make a difference
I am looking very much forward to this series. Regarding the Focusrite Octopre I find the Xfmr gets extremely HOT - so I have stopped using them and now use their Clarett - higher quality, less noise. Mic's: am using Schoeps (switchable Omni/Cardioid) MK5's, and for Ambience: a Calrec Soundfield. The Soundfield multi-core cable is very heavy, being armoured, and on its own drum.
That's really interesting - never noticed my Scarlett getting hot. I have four of them (2x 2i2s and 2x 18i20s). I have a Gen 1 18i20 which powers the Hauptwerk setup (8 speakers, 2 monitors and headphone all running) and I've never noticed it running too hot. Sure it gets warm, but nothing to make me concerned. Do you record organs, Michael?
Hope everything is well with you and your adventure. I hope you will include Bach's toccata and fugue in d minor in your recordings. I know that is probably 'over requested' but there are many ordinary (non pipe organ fans) people in the US that recognize and love that piece. It is what inspired me to do the Hauptwerk thing. Pipe organs are really amazing.
This is brilliant Richard. Very interested in your take on recording an organ. Are you concerned about any phase issues with placing mics in the nave at a distance from the close mics?
Thanks Peter. Phase is on my mind, but I’ll listen out for it. I think with the generous acoustic in Truro and the fact that the mics aren’t ‘that’ far apart from each other I think we’ll be good. Early indications of the overall balance of the microphones is VERY good. I’ll go into detail on the post-production in Episode 5 😊
Hi Richard .I heard the organ live at Truro in summer 2004 and can't wait to hear and see it being played again. I am sure that your recording will be of high quality and absolutely faultless. (Did you manage to get away from the traffic cops as you passed the service area ?)
With just one pair of omnis in your kit you are not going to be able to experiment (if you stick to your plan) various omni-only setups. Which in my experience, and many others', is The Solution for recording an organ in good acoustics. Trying to blend spread out microphone pairs tends to create more problems than you think it will solve. Best of luck anyway.
@@beautyinsound I am not there and never have been, so this I just speculation. If the organ was situated symmetrically at the end of the church a good starting point with omnis would be 1/4 to 1/3 the length of the nave at the height of the organ if possible. Of course you must have the possibility to monitor the sound in situ to make reasonably fast adjustments. With small capsule microphones like Sennheiser MKH 8020 which I have it is possible to use acoustic pressure equaliser balls which make the microphones more directional at higher frequencies. This does not affect the bass response, but gives some cardioid -like spatial solidity to the aural image. Normal AB spacing but angled out like DIN or ORTF. Apparently the Truro organ is not situated symmetrical, so it complicates matters. There is not much space in front of it, but I would try with semi-wide spaced (60 cm or so) omnis about 2/3 nave width away from the organ. That should give enough straight sound clarity and reverb blend, and the solid bottom end of omnidirectional microphones. The recordings that I have heard which try to blend straight sound with reverb mics have not been to my liking. Naturally all this depends on how much time you have to experiment and make comparisons. If I were you I would be weary of Internet experts like me who just as well might be a dog... Something to ponder anyway.
*Are you looking forward to hearing this organ? I can tell you that it sounds AMAZING!!!!!* 😁
Absolutely! Can’t wait for the next episode. Is that Luke Bond again in the background? What’s the name of the CD? Seems to have some great stuff on it ..
YES
This series is so well done. You are such an engaging host. Just the right length. Just the right amount of information. And just the right amount of mini eggs (I might need to go find some!) can’t wait for the next installment. 😊
Can't go to a hotel without a sneaky drink and a bag of Mini Eggs! You need to get some when you make it back to see your family!
This is becoming a fabulous mini-series Richard. So, so well done, and like others, I echo what Jerry has said. Thank you. Brilliant as always.
Cheers Trevor, I hope everything is ok with you! I'll be in touch 😊
I completely agree with Jerry, exactly the right amount of information. The part of placing the microphones is very interesting.
Recording in such big cathedrals must be very difficult. I'm already struggling with placing a field recorder in just a Dutch village church (well, with a nice historic organ of course)
It's one of the most exciting (and nerve-wracking things) about recording an organ like this - getting the positions of the microphones is crucial, but I think I managed to get it about right. I'd be very happy to have your feedback on Episode 4 and/or the rectial when it goes live on 5th April. I'll be tweaking the mix lots between now and then!! 😃
Best of luck!and am very excited for this!
Why am I not surprised that's an empty bag of mini eggs 😆
They didn’t last long, obviously!
“I’m going to enjoy these mini eggs...” They looked like they were long gone 😂
I was at a recording I sponsored in Rochdale town hall in Sept, and the friend who is a organ recording engineer (99% SACD) with his own label, had some amazing mics, and as many have said, placement is everything, a few inches can make a difference
Have you managed to catch Episode 4 yet? That includes and 'early' mix which I've actually tweaked now in advance of uploading Andrew's rectial.
Very exciting. Nice to hear the Howells Rhapsody 3 in C# minor as your underscore!
It's the recording from my Howells organ album 😊
I am looking very much forward to this series. Regarding the Focusrite Octopre I find the Xfmr gets extremely HOT - so I have stopped using them and now use their Clarett - higher quality, less noise. Mic's: am using Schoeps (switchable Omni/Cardioid) MK5's, and for Ambience: a Calrec Soundfield. The Soundfield multi-core cable is very heavy, being armoured, and on its own drum.
That's really interesting - never noticed my Scarlett getting hot. I have four of them (2x 2i2s and 2x 18i20s). I have a Gen 1 18i20 which powers the Hauptwerk setup (8 speakers, 2 monitors and headphone all running) and I've never noticed it running too hot. Sure it gets warm, but nothing to make me concerned.
Do you record organs, Michael?
Hope everything is well with you and your adventure. I hope you will include Bach's toccata and fugue in d minor in your recordings. I know that is probably 'over requested' but there are many ordinary (non pipe organ fans) people in the US that recognize and love that piece. It is what inspired me to do the Hauptwerk thing. Pipe organs are really amazing.
Did you see Episode 4? 😉
I am looking forward to hearing what this organ sounds like as I have never been to Truor Cathedral.
I think you’ll love it Katy! 😊
It is said that tears used to come to the eyes of Sir John Dykes Bower at the mere mention of the Truro organ.
I can see why - it's glorious in every way!
You will do great.
Do you use Ambisonic Soundfield microphones?
I am on the PA team at my local church so very interested to see where you place the microphones 🎤
I hope it was helpful 😊
Hey! Your stearing wheel is on the wrong side!
There’s always one...
This is brilliant Richard. Very interested in your take on recording an organ. Are you concerned about any phase issues with placing mics in the nave at a distance from the close mics?
Thanks Peter. Phase is on my mind, but I’ll listen out for it. I think with the generous acoustic in Truro and the fact that the mics aren’t ‘that’ far apart from each other I think we’ll be good. Early indications of the overall balance of the microphones is VERY good. I’ll go into detail on the post-production in Episode 5 😊
@@beautyinsound looking forward to it. I’m trying my hand at recording. Don’t have the kit and setup you have! Do you need an assistant?
Hi Richard .I heard the organ live at Truro in summer 2004 and can't wait to hear and see it being played again. I am sure that your recording will be of high quality and absolutely
faultless. (Did you manage to get away from the traffic cops as you passed the service area ?)
The organ sounds seriously fabulous, and I’m very excited to share it with you very soon!
With just one pair of omnis in your kit you are not going to be able to experiment (if you stick to your plan) various omni-only setups. Which in my experience, and many others', is The Solution for recording an organ in good acoustics. Trying to blend spread out microphone pairs tends to create more problems than you think it will solve.
Best of luck anyway.
Thanks Kari. Really interested in your comments - what set up would you do with my microphones?
@@beautyinsound I am not there and never have been, so this I just speculation. If the organ was situated symmetrically at the end of the church a good starting point with omnis would be 1/4 to 1/3 the length of the nave at the height of the organ if possible. Of course you must have the possibility to monitor the sound in situ to make reasonably fast adjustments.
With small capsule microphones like Sennheiser MKH 8020 which I have it is possible to use acoustic pressure equaliser balls which make the microphones more directional at higher frequencies. This does not affect the bass response, but gives some cardioid -like spatial solidity to the aural image. Normal AB spacing but angled out like DIN or ORTF.
Apparently the Truro organ is not situated symmetrical, so it complicates matters. There is not much space in front of it, but I would try with semi-wide spaced (60 cm or so) omnis about 2/3 nave width away from the organ. That should give enough straight sound clarity and reverb blend, and the solid bottom end of omnidirectional microphones.
The recordings that I have heard which try to blend straight sound with reverb mics have not been to my liking.
Naturally all this depends on how much time you have to experiment and make comparisons. If I were you I would be weary of Internet experts like me who just as well might be a dog...
Something to ponder anyway.