#Bruback take five plus
The performers like the setup because its familiar and because they can hear each other live, and I like it because this forces them to more or less balance themselves live, which makes mixing a breeze! Plus then I don't have to confront my neurosis and recurring nightmare of the bass player's Tiny Tim-esque pleas for "more me!" in the cans I avoid using headphones for the group as much as possible, and keep the players set up in their usual performance arrangement, often with the horns turned around, facing in or across. I don't find that this gets in the way of the jazz, especially as I go out of my way to make the setup situation as ergonomic and comfortable for the performers as possible. Rather than move the mic around to find the right balance, I just add a bit more snare for brushes tunes, adjust the kick up or down depending on how jazz- or groove-centric the time feel on a tune is, etc. I find that this gives terrific control over the sound, especially from song to song as the style changes and balance needs adjusting. So I started going to a multi-mic thing, and approach it the same way i would approach balancing an acoustic ensemble with spots: you get your overall pickup from the overheads, make sure that gives you the size and shape that you want, and then you mix in the spots on hat, snare, toms, and kick to balance. I spent a good amount of time recording mono or 1-mic drums for quick-setup gigs and while I like the simplicity of it, I never felt like it would gel in the mix the way I wanted it to. I see where you are coming from, but I think it's more about mixing technique than about rigid adherence to minimalist mic'ing schemes.įor instance, I will more often than not multi-mic a drum kit, with at least stereo overheads and a kick mic. This is what was being done in this era and, although I do not think the recordings hold up to the best modern recordings, the ensemble effect and the level of performance make the recordings great unto themselves. I could have some uses for certain recordings to achieve a certain effect but ultimately it is about capturing the ensemble. Piecemeal recording as it is done on allot of Pop, R&B, Rock and Dance records is not the paradigm for Jazz. This, to me, is what recording Jazz is about. The mix will essentially come from the arrangement, the instruments and the performance. You get the benefit of a well dampened and/or well tuned room, the ability to use gobos to further focus particular aspects of the recording but ultimately have a live band playing and some well placed mikes to pick it up.
#Bruback take five full
For Jazz, although it is necessary to use modern miking techniques for a modern sounding recording there is a balance in which you can achieve a great sound, up front and full of detail, while still retaining the ambiance of of the room and blend of the instruments as the musicians intend it to be heard by doing a live recording in the studio. Two, maybe four mikes on the piano, two mikes on the bass and finally, only one mike on the horn. Nevertheless I do think that there is a more unified recording procedure wherein, for instance, they would never have considered separate microphones for each individual drums plus stereo overheads, maybe even two mikes on some of the drums (snare and kick) and a room mike or two. My first thought was that this was a publicity shot and others agree so there is really not much question there. "Beautifully recorded in a manner to give the listener the impression of having a front-row seat, Live at Wigmore Hall should be an essential acquisition for fans of David Grisman and Martin Taylor" said one kind reviewer. recorded just with a Sennheiser MS pair.
#Bruback take five download
LIVEDOWNLOADS | Download David Grisman & Martin Taylor 4/23/96, Wigmore Hall, London, UK MP3 and FLAC Might have been this occasion - too long ago to be sure - Martin Taylor and Dave Grisman - samples of the double CD are at The performers played the soundcheck for a few minutes while the sound people adjusted this and that, then one of the players said "what happens if it's turned off altogether?" And of course in that fine acoustic it sound great just as it was.
Reminds me of an occasion recording a jazz event at Wigmore Hall (many years ago) when literally a truckload of PA gear was brought in and set up. The performer is good, an old time folkie from way back, a kind of van Ronk kind of guy.
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