Recording Opera Singers

[AJaLight]

Good-day all.  I'm new to this group - inspired to join by the apparent calibre, quality, kindness and mutual respect of its members and their feedback.   To freely proffer guidance from decades of hard-earned experience is no small thing - indeed, it is a very big thing, and I salute you all!

 

I am to be recording opera singers.   Any guidance or comments on the following would be most welcome.

 

Is it best to record a singer in live performance with an orchestra, or alone in a good recording studio to pre-recorded orchestral backing (assuming quality recording gear is available for either case)?

 

I can see many pro’s and con’s both ways, but I am most interested in the quality and ‘authenticity’ of the final mix.   Which method, in practise, sounds brighter, richer, cleaner, better?

 

Many thanks, in advance, for any comments.

 

 

[jozzafunk]

tick tick tick....

 

Well - the 'quality' is possibly better in a studio, the performance probably better in a live setting - take your pick.

[VASI]

Check samples from DPA website. My favorite is Decca Tree.

 

http://www.dpamicrophones.com/en/Mic-University/Stereo-Techniques/stereo-recordings.aspx

[JonG]

Ive done it a number of different ways, but usually you get them live with the orchestra.

[Jay Rose]

If at all possible, leave it up to the singer: are they more comfortable playing off an audience (and having a conductor react to their singing in realtime), or would they prefer the chance at vocal perfection a studio recording gives them.

 

Or ask the late and legendary pianist Glenn Gould, who totally stopped his successful concert career in order to devote himself to studio work...

 

 

I notice you don't have "record in a studio with live orchestra" as one of your options... which might be the one a particular singer prefers. Is that because of budget?

[studiomprd]

AJL: " Is it best to record... "

actually, I suspect you need to get more experience, working with already experienced professionals....

[ninjafreddan]

I am to be recording opera singers. Any guidance or comments on the following would be most welcome.

I can see many pro’s and con’s both ways, but I am most interested in the quality and ‘authenticity’ of the final mix. Which method, in practise, sounds brighter, richer, cleaner, better?

Many thanks, in advance, for any comments.

Well, there's A LOT to think of and plan ahead before working with an orchestra, conductor and opera divas. Time is money and in the end people's patience.

Here's a couple of spontaneous advices, but read as much as you can on the subject!

First advice, don't waste time! A lot of people will be watching your every step.

If you can't read a score, then learn fast! At least get a grip of the different signs indicating changes in dynamics. Highlight solos etcetera. Because if you ask the conductor about the musical content he/she will show you a score sheet.

Keep the setup simple, there's a lot of information available on the Internet.

I would set up a Decca tree above the conductor's head with three nice omni mics, DPA 4006, Neumann TLM50/150, Schoeps or similar quality. Gooseneck cardioid mics for the the opera singers, DPA 4011, Neumann KM140, Schoeps or similar quality, half a meter away, a small rug on the floor in front of the divas to tame any ugly first reflection from the floor.

Four ambience mics, two pretty close to the stage facing the audience and two high up and further away to capture the diffuse ambience. If you have the time,

experiment by putting the second pair next to a side wall. Sometimes it sounds just perfect.

If you have the opportunity then put a couple of instrument group mics, four for the strings, one or two for the softer sounding wooden brass etcetera. Solo mics for the solo instruments.

What you want to be able to do is to change the dynamic range of softer sounding instruments in the mix, bring up soft strings motifs that maybe got a bit too soft on the recording.

Make sure to pick a point of reference, the centre mic of the Decca tree and then measure the distance to each and every microphone, document the distances, because it will help you a great deal when setting the delay lines in the mix. Some recording engineers set a couple of delay lines and put the mics at the same distance, to minimise phase issues later on. If this is new to you, then you need to read up on the subject.

Again, don't waste people's time! Keep it simple and record everything at the same time, because then everyone can communicate freely and won't have to wear headphones. You will most likely be able to notch a sour note up or down a couple of cents even with the leakage from the orchestra.

Yes, there is always the possibility to have the divas in a recording studio close by, listening to a headphone mix and watching the conductor on a TV-screen. But it's a much more complex setup and it would involve a great deal of skills and diplomacy to get everybody happy.

So keep it simple,

close your eyes and listen to the music! Don't stare at the meters dancing in your DAW!

Just listen to the music (and the conductor)! :-)

Good luck

Fred

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