Personally I don't like most large diaphragm condensers for shakuhachi. Many
have a presence boost at around 2K (in imitation of Neumann U87), which is
great for vocals but accentuates the sibillance for shakuhachi as well as
making it edgy. I also prefer small diaphragms for picking up the high-end
transients of shakuhachi.
In fact, I don't really like close-micing shakuhachi at all -- I think in
most cases it works best as an instrument "in the space," collaborating with
its environment. After trying all kinds of configurations, I now prefer a
minimalist "classical music" stereo approach, with a pair of spaced omnis --
no EQing, no compression, no reverb. I have had really good results with
Earthworks QTC-1's, though any of the Schoeps, DPA, or Sennheiser MKH mics
with omni capsules should work great. Of course this requires a quiet
environment with decent acoustics, but I'd rather search that out than do a
lot of maniuplation of the recording. I have also had good results with M-S
stereo recording, using a small-condenser for the cardiod and a ribbon mic
for the figure-8.
I realize that a home studio is more likely to have a large condenser or two
hanging around than a matched pair of omnis or a M-S system, so if that's
the way you have to go there are some things to keep in mind:
1. Try to use a mic that doesn't have a presence boost, that is relatively
flat.
2. A couple of feet out, about 2/3 of the way down the flute is a good
starting point, then experiment -- this will vary a lot from player to
player. Avoid proximity effect (bass boost) that comes from being too close.
3. Even if the mic is at a distance, make sure it is off-axis (slightly
angled away) from the player's mouth.
4. When close-micing, I don't see much point in more than one mic. While
mixing the sound of two differently placed mics may reduce the need for
EQing, subtle phase problems are likely if the player moves the flute at
all.
I never like applying reverb, but if you have to do it make sure that it's
an algorithm with adequate and sophisticated high-end roll-off starting at 3
or 4K. Nothing is worse than that sound of a "distant" shakuhachi with the
sibillance front and center -- very artificial sound.
>From: dangutwein@comcast.net
>Reply-To: Shakuhachi@communication.ucsd.edu
>To: suffner@teleport.com, Shakuhachi@communication.ucsd.edu
>Subject: Re: recording shakuhachi
>Date: Wed, 08 Oct 2003 20:21:45 +0000
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>X-UIDL: f8ce55d6eb87efaeb14217bfab9b4fad
>
>I've done a great deal of home recording using Sure condenser mics, Cool
>Edit Pro, and an Ardvark LX6 PCI sound-card and break-out box. This setup
>has given me clean recordings. I would say the the best investment is in
>the microphones (good large diaphram condenser mics are best - but
>expensive). Next - don't place them so that there is phase cancellation
>(i.e. one at the crest of the same wave when the other is at the valley --
>if you get my drift.) Best bet for placement is to use a single mic stand
>and an attachment that allows for the use of both mics on the same stand
>(i.e. the head of the virtual listener.) Next thing --- a very clean
>soundboard and/or mic preamp (most condenser mics require phantom power).
>The introduction of amplification noise (his) or the introduction of the
>noise from your home air conditioner or heating plant cannot be removed
>(even with the best software) without seriously hurting the clarity of the
>recording (i.e. the high end elements.) !
> Shut everything off in the house!
> > Hello All,
> >
> > I have a small ProTools-based recording system in my home. I've played
> > shakuhachi for many years and am doing some recording of it, solo and
>overdubs
> > with other instruments.
> >
> > I was just wondering if others are doing recording post-production etc.
>and
> > would be interested in sharing techniques and tips? Also, if folks have
>recorded
> > in studios, would they share some of their experiences?
> >
> > I was able to speak with John Neptune for a short time recently and he
>said,
> > since sound comes from bothe ends of the flute, to mike the flute from
>above and
> > at an angle perpendicular to the flute. He also suggested using two
>mikes at
> > that point, separated about the distance of the ears on a head. I've
>tried it a
> > bit and it seems to work well.
> >
> > I record the flute dry but add reverb in the headphone mix. DSP effects
>are
> > added in mixdown. I work the eq both at record time and during
>post-production
> > to control silibance. I post eq on Event monitors and headphones.
> >
> > Having two tracks to work with makes for some nice options during
>mixing. Pan
> > can be set and effects added independently. Also slightly offsetting in
>time can
> > make a very rich sound.
> >
> > Of course ambience of the recording environment has a big effect and
>I've
> > experimented with various environments from very "alive" to almost
>totally
> > "dead." I even tried outdoors.
> >
> > Best Regards,
> >
> > stan
> > _____________________________________________
> >
> > List subscription information is at:
> > http://communication.ucsd.edu/shaku/listsub.html
>_____________________________________________
>
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