On 06/23/2010 11:26 PM, fons@xxxxxxxxxxxxxxx wrote:
On Wed, Jun 23, 2010 at 11:11:55PM +0200, Jörn Nettingsmeier wrote:
* direct sound ok'ish but a little unpleasant in the mid range and lack
of "air", i.e. treble reproduction.
Absolutely. It sounds as if everything above 5 kHz was
cut off somehow. A higher mic position could help, but
I've got the impression that the mics are lacking HF
anyway.
Yes - these are Behringer XM1800 dynamic mics, presumably for PA use. I
shan't be using them on the organ again. (But it was worth a try!)
Well, this isn't a German organ. It also needs some
maintenance, and the registration doesn't help.
This organ is in Bristol, UK and has a collection of stops typical of an
English organ of its size - lots of flutes, hardly any reeds, hardly any
mixtures. I think it's about a hundred years old. The console has been
restored/updated and the pneumatic mechanism has been replaced with
electric, but the ranks of pipes are the same.
You are correct that some maintenance is required. One or two of the
stops are badly out of tune and are temporarily out of use. Some of the
other stops are slightly out of tune, and still used. There are several
air leaks (but fortunately the poor HF response of the mics has cut that
out ;) It's just a case of money!
I personally think the registration choice is suitable in all of these
recordings, but of course this is a matter of opinion. The organist
playing here is an experienced professional. This church has a smaller
organ than he is used to - he previously was the resident organist at
Crediton[1] and has also played at cathedrals across Europe. I consider
myself fortunate to work with someone so knowledgeable, talented and
experienced.
I realise we are now well and truly OT :)
[1] http://www.holycrosschoir.com/theorgan.html
I don't fully agree on the benefits of using omnis.
A *good* cardioid will reproduce the bass as well,
even if maybe you need to EQ a few dB. And spaced omnis
on organs or anything that produces long sustained notes
can be a disaster for mono compatibility, unless they are
spaced much more than a meter. And in that case you risk
the 'hole in the middle' or you need at least three mics.
Thanks too for your advice. How important is mono compatibility, given
that these recordings are burnt to CD as stereo, and handed out to
people who listen to them on their stereos at home?
Cheers,
Jonathan
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