MASTERCLASS: Record Acoustic Music And Hear Cheap vs. Vintage Tube Mics
ฝัง
- เผยแพร่เมื่อ 16 ก.ย. 2024
- For an even more in deep learning experience, check out my MIXING BIBLE:
www.danieldettwiler.com
In this masterclass, Daniel Dettwiler demonstrates the art of recording acoustic music. What are the key factors to consider when capturing a live performance with all musicians in one room? How do we address crosstalk and utilize bleed to create a natural sense of space? And what distinguishes this recording approach from a scenario where each musician is isolated?
Furthermore, all instruments were captured using a combination of vintage Neumann microphones and more affordable, contemporary models (Soyuz).
This masterclass offers a unique opportunity to learn from a seasoned professional and delve into the nuanced world of capturing the essence and authenticity of live acoustic performances.
Band:
Aphorism Quartet: Michael Beck - Piano, Domenic Landolf - Tenor Sax, Arne Huber - Contrabass, Jorge Rossy - Drums.
Recorded, mixed and mastered by Daniel Dettwiler
Recorded at Jazzcampus Basel
Mixed and mastered at Idee und Klang Studio, Himmelried
Video by Michael Chylewski
01:38 Drums
03:35 Hear the Drums
04:65 Impressions Drum Soundcheck
06:47 Saxophone
10:55 Bass
14:10 All playing together
16:07 Piano
24:28 All together
24:51 Talk in the Controlroom
31:28 Hear the final mix
... and what the musicians actually do is shaking the air molecules ... - so right, beautiful. Thanks! Great lecture anyway!
Thanks! Let others know about it!!!
Thank you, this is gold ! With just the sound of the microphones, event without mix, it's already great. I'm currently working on the Bible, it's a very valuable content. I love your approach to jazz recordings.
Great, share it to others (both the TH-cam Things and the Bible:-)
Even with the limited fidelity of these TH-cam sound, I can understand why the old classic mics are in a class by themselves.
Thanks, share it!
An excellent video Daniel.Thanks.
Thanks, it would be great, if you share it with others:-)
Wonderful video. Thank you for posting this!
Thanks, share it among others!
A very informative insight into acoustic recording Daniel,Thanks for the video.
Great, share it with others!
Thank you for this, this channel has been hugely informative!
Great, let others know about it! (and check my mixing bible on www.danieldettwiler.com
Thank you for this great informative video, I am looking forward for the mixing video.
thanks.
Great stuff Daniel Danke. Can I just mention though, the rough mix had this amazing natural nuanced sound that got lost a bit with the compression on the final mix somehow. Just a personal note.
so good, thank you very much! well done also with the film making.
Thanks. Please let others know about it!
Super informative, it actually answered to me why we had some of the problems we had with recording our previous albums in different studios… Thank you very much! Just finished your mixing bible recently and can’t wait for the next courses to become available on your website! I already feel quite some difference in the way I approach recording and can hear the results when listening to stuff I recorded - nowhere near perfect of course, but way way better than they used to be, and they translate quite well to different systems :) You really know what you are talking about and explain perfectly! Thank you!
Thanks, let others know about it.
And check my mixing Bible on www.danieldettiwler for an even more deep learning experience:-)
@@danieldettwiler.official I guess you didn’t see the second part of my answer;) that’s ok, in any case thanks for your hard work and looking forward for your next releases- both paid and free :)
@@momchilatanasoff7456 o - you already did the bible:-) I actually read it, but as I have to read the comments rather fast I kind of overlooked that part and thought you would be referring to the TH-cam Videos. Great comment about the Bible, it was actually the reason that I did it, so that it helps to hear things and that everyone can improve. Cheers!
@@danieldettwiler.official too much comments and online stuff, it’s perfectly understandable :) have a great week :)
Thank you Daniel.
Precious shared knowledge.
Let's only agree this session with those mic placements would be ruined with Elvin Jones in the room 🙂.
Even the RE20 on the f hole would be unusable.
I'll never thank you enough for the Myburgh M1 advice on the upright bass.
Thanks..
Amazing video as always!! It would be awesome to make a video about preamps. What you chose in every source and why? Fast vs slow, tube vs FET etc. Thanks!!
I do this by intuition and I don't have certain pres I would always use on certain instruments. that said, in that Studio, it's either Untertone Audio or GML. Preamps are important. But also not. I could also just have pluged every mic into the Merging Horus Mic Pre (that is also there at the studio), and then the recording would be cleaner, and I would have done more saturation in the mix. Important is, that the Preamps are of a good quality. But to place the musicians propperly, to have the perfect distance between the instruments and to finally place the mics perfectly, that's the real Art in Recording.
nice!
Thanks, spread the word!!!
First of all, thank you and well done for sharing. This video is at the heart of my concerns as a musician and amateur 'producer' for our acoustic trio captured in this 'live' context. One question though: In this context, the double bass generally needs to be amplified to be sufficiently well perceived by the other musicians. Was this the case in this master class and if so, what device did you use and how did you manage the bass amp in your mix? Thank you for your answer. Francis.
The Bass would not be amplified in most of those old-school recordings. I don't remember if here it actually was, but 9 out of 10 productions, in which I record in the old school way, the Bass Player does not need an amp. The Drummer's Job is, to play at a level, that make's sense for the ensemble. Obviously, you need a good bass player, that has a strong sound...
Thank you for your reply, FT@@danieldettwiler.official
Danke Daniel für die super Videos! Hab bis jetzt kein Ort auf dem Internet gefunden, wo ich Informationen in dieser Qualität her bekommen kann!
Schaust du bei den Drum Overheads, da die Snare mittig ist, oder die Bassdrum oder beide? Wie gehst du das an?
In welcher Situation würdest du Ribbon Mics den Tube Mics bevorzugen?
Danke, lass es andere auch wissen, dass es den Kanal gibt.
Checke auch mal die Bible aus auf www.danieldettwiler.com (da geht es dann richtig zur Sache:-)
Snare mittig: ne, im Jazz falsch, sie ist ja nicht in der Mitte. Ribbons: Gut wenn es warm sein soll.
lg dd
What did you use on the bass drum? What would you use for a higher tuned 18" bass drum, which has a clear pitch, to still have some weight and bass frequencies? Where do you position?
Probably a U47 Fet. I position it, so that it sounds good, there is no right position, it's different with every baddrum and every drummer.
Excellent video and explanation once again Daniel. Plus having such wonderful musicians sure is a huge part of what any engineer can actually accomplish. I know, you know that. In our world full of , IMHO, many terrible recording concept videos, yours truly shine with truth and professional experience. Keep sharing with the next generation!!
Thanks, Rob - Music and Musicians always comes first. Then it is our job to preserve the emotions:-) For young engineers, I think what is important, is that they are able to switch, once they have really great musicians. As you can (but also have to) mic differently. My first experience with this was (I was very young back then), when I had a chance to record a band with Mulgrew Miller (Pia) and Ira Coleman (Bass). All the typical problems of instruments, that I was used, having recorded students, were not there anymore. I was able to record them with more freedom and I was lucky that I did not just start with too close mic positions (as I might have done for students, to be able to fix problems).
Thanks for the insightful video! What is your approach to room mics in this setting?
Thanks, share it! Room mics: depends totally how the room is. It should add space and glue…
wonderful video Daniel & I must say you create great recordings !!!! However, I am still struggling with the current obsession with vintage mics. I don't believe they sound "better". I believe vintage mics supply a beautiful sound profile that is familiar and that has a historical legacy. One hears a Coltrane or Sinatra LP and learns the engineer used a 47 or 59 etc and so begins the perpetuation. Every studio & engineer begins using them and here we are 70 years later still using the 47 or 59 because the artist wants that legacy sound . Generation after generation of engineers have continued to use the same tools in order to satisfy clients demand..47. 59. 67. 87, 414 etc..etc. Even the new microphone manufactures are essentially attempting to clone vs. innovate. I will confess.. in my project studio I too am using some of the industry standards because my artistic and engineering heroes used them :)
I don't have any obsession, and I often record with modern mics, such as the Fleas or Soyuz, or other's. It's way too expensive to always bring in the historic ones. BUT: As I do have the historic Mics and as I often have done comparison, I can honestly say, that in most recording sessions you would get sonically a clear better result than with only modern mics. That again does not mean, that a recording session can not be done with modern mics, or that the difference could not be compensated with other tools. However, it is very clear, by all engineers that do have the old one, that they sound better, mostly it is the off axis sound, that makes the difference. In case you record in Abbey Road Studio, talk with the engineers there, it's fascinating. They are not stupid, and they would not use the old mics, if they did not clearly feel, that their recordings sound better. Rather, they would keep it in the safe and only use modern mics or reissues. I think it is important, to give respect to those "old" developers, that were able to create so good mics. This comment is not meant to come over arrogant. Btw. even Al Schmitt said (I knew him in person), that he does record with the new mics, but if he gets the chance of being able with the old one, in most situations he prefers them. His favorite Mic for Main Mics (or Room Mics) is the Neumann M50 and not something new.
@@danieldettwiler.official apologies.. my comment about obsession is not towards you but directed to the entire industry. People always speak of Old mics, old keyboards, old guitars, old horns and old drums and old old recording technology like tape. This just seems crazy.
@@vincenteoppolo9025 Ah, I see. Yes, like with Violins:-) But, that said, there is great new stuff too, and we all also speak about that stuff. But if you compare VOX Amps as an example, one from 1964 one from 74, and a modern one, it really does become clear, why we speak about the old stuff. For my work, to give the very best results to the audience (which is what I try), I use a combination of old and new technologies. I am absolutely sure, that if I only would use old technology, my end result would be worse. But I also know, that if I mix only ITB (I did this for over 30 years) the end result would be worse.