soprano and piano

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Re: soprano and piano

Post by blinddrew »

Just make the whole thing in black and white - call it art! ;)
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Re: soprano and piano

Post by Peevy »

blinddrew wrote:Just make the whole thing in black and white - call it art!


I could do black and white context cutscenes to lorries, motorbikes, radiators, school playgrounds, lawnmowers, sheep, congregations, toilets, heating systems, tourists, trains.

Should fit perfect! :bouncy:
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Re: soprano and piano

Post by Aural Reject »

....don’t forget to wrap up warm for when the keyholder hasn’t been told you’re coming early...

Good luck.
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Re: soprano and piano

Post by Martin Walker »

Wow, what a fascinating thread full of practical advice and anecdotes - a wealth of personal experience! :thumbup::clap:

Good luck with your gig Peevy!

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Re: soprano and piano

Post by Arpangel »

Best of luck with this, I’ve been involved in many soprano and piano recordings, and my heart goes out to you.
The soprano voice is one of those things that very few singers can pull off, there are millions of average "OK" guitarists, but very few excellent ones that can do it properly. Sproanos are even rarer in that department, I’d go as far to say that any amateur that hasn’t been formally trained and hasn’t studied it as a profession is going to be ear damagingly bad.
Forget mic placement etc etc, you’re most important skill on the day will be delivering levels of diplomacy and tact you never thought you possessed.
Unless of course you know the singer well and can vouch for her quality, in which case ignore all the above.

:)
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Re: soprano and piano

Post by Peevy »

Thanks again all!

Arpangel wrote:Best of luck with this, I’ve been involved in many soprano and piano recordings, and my heart goes out to you.The soprano voice is one of those things that very few singers can pull off, there are millions of average "OK" guitarists, but very few excellent ones that can do it properly. Sproanos are even rarer in that department, I’d go as far to say that any amateur that hasn’t been formally trained and hasn’t studied it as a profession is going to be ear damagingly bad.Forget mic placement etc etc, you’re most important skill on the day will be delivering levels of diplomacy and tact you never thought you possessed.Unless of course you know the singer well and can vouch for her quality, in which case ignore all the above.


Hi Arpangel

The soprano is professionally trained, and I’ve heard a couple of songs online. On those, the voice is very good but the recordings aren’t great. She’s in the lyric soprano department, so not of the Wagnerian mould. I’m hoping that will keep ear damage to a minimum. :)
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Re: soprano and piano

Post by Hugh Robjohns »

Professionally trained can mean surprisingly loud (when appropriate to the material)! Be ready with the mic pad switches on any close mics!
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Re: soprano and piano

Post by Peevy »

Hugh Robjohns wrote:Professionally trained can mean surprisingly loud (when appropriate to the material)! Be ready with the mic pad switches on any close mics!


Hi Hugh

Yes, another secret fear revealed! The SDCs that I’m planning to use don’t have pad switches. I have a couple of inline attenuators (-10db I think?) I’ll get a couple more, or is there a better alternative?

The two multi pattern LDCs for the omini main pair do have pads so that’s covered.

I’ve been thinking again about a closer mic for the vocal. I think I will set one up, just as a security blanket, even if a tiny amount of it is used or not at all. If I do, would a good starting position be a SDC about waist height pointing up?

Thanks again. :)
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Re: soprano and piano

Post by Arpangel »

Peevy wrote:
Hugh Robjohns wrote:Professionally trained can mean surprisingly loud (when appropriate to the material)! Be ready with the mic pad switches on any close mics!


Hi Hugh

Yes, another secret fear revealed! The SDCs that I’m planning to use don’t have pad switches. I have a couple of inline attenuators (-10db I think?) I’ll get a couple more, or is there a better alternative?

The two multi pattern LDCs for the omini main pair do have pads so that’s covered.

I’ve been thinking again about a closer mic for the vocal. I think I will set one up, just as a security blanket, even if a tiny amount of it is used or not at all. If I do, would a good starting position be a SDC about waist height pointing up?

Thanks again. :)


Is she singing from a score? My instinct here would be to have the vocal mic high, pointing down, why? I believe it encourages a better performance, if the mic is at waste height she’ll be tempted to sing down into it, which can restrict the throat, more inspiring to sing looking up, if any of this makes sense, I’m a singer too, and I know mics can be like cameras, you can’t help sing in their direction.
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Re: soprano and piano

Post by Hugh Robjohns »

Peevy wrote:The SDCs that I’m planning to use don’t have pad switches. I have a couple of inline attenuators (-10db I think?) I’ll get a couple more, or is there a better alternative?


It depends on what is likely to overload first, the mic's impedance converter or the preamp. Back in my day, many capacitor mics had quite limited headroom and you had to pad down the mic itself when a powerful singer was belting directly into a mic.

That's much less of an issue today as most modern mics have a pretty healthy headroom, but it's worth checking the max SPL spec for your mics to see what might be the most appropriate choice. If the preamp goes first -- as it might if your mics are high-output types -- then an inline pad is a good solution if the preamp doesn't have an pad switch. 20dB is a more common default value, but 10dB will usually be enough to save the day.

But this overload risk is more something to be aware of, rather than a likely scenario. You'd need a very loud singer and an unusually close mic to have a real problem.

If I do, would a good starting position be a SDC about waist height pointing up?


That's the stock position for public concerts because it keeps the mic out of the sight lines, but for a dedicated recording I'd prefer to go high and come in from slightly above the singer, if I had a suitable mic stand...
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Re: soprano and piano

Post by The Red Bladder »

Piano and voice - I've done a ton of these with video and here are my pointers -

1. Those domestic cameras all drift, so you MUST slate the front and back ends of the video. Do this so that the slate can be seen by all cameras. If some are not looking at the same spot, just switch them all to record and slate one after another. A clapper board is best and most accurate, but a handclap will also do.

2. If the piano is anything like ours, it's going to be bloody loud, so close-mic it and use an SM58 on the voice to keep the piano sound down in the voice mic as far as possible.

3. The video editor can squeeze and stretch the video in Premier or Resolve. Do not let him/her mess with the audio by squeezing/stretching or there will be horrible phase problems! Resolve can do an auto-sync using the audio, but Premier cannot.

4. Remember to hit 'White Balance' on the cameras before going into record!
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Re: soprano and piano

Post by Peevy »

Thanks Arpangel and Hugh.

Recommendations duly noted. Will try spot higher up.

Hugh, the F8 preamps don’t have a pad switches, so I’ll make sure to have in-line attenuators at the ready :)
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