Jeff Zahos

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Setup/Equipment

• MOTU 896 interface (recording at 96kHz/24bit) – Onboard preamps used
• Recorded and mixed in Cubase
• Drum overheads preamplifier – Hamptone HVTP2 tube preamp
• Microphones:

Piano – MXL 603 (cardioid consenser)

Bass – Direct input

Drum Overheads – (2) MXL 2001 (large capsule cardioid condenser) (ORTF Configuration)

Bass Drum – PZM

Process/Issues/Evaluation:

This project was conceived with the idea of emulating the sound of the work of Rudy Van Gelder in the early 1960’s (a mutual choice of my own and the drummer, for whom this was an audition tape).  Of course I did not have any of the same equipment as Mr. Van Gelder, but I attempted to capture some characterstic elements with instrument placement, intentional mic bleed, dynamic treatment and equalization in mixing.  There is no editing/crossfading in this example.

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Setup/Equipment

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
• Mixed in Cubase, using MOTU 896 interface
• Hamptone HVTP2 tube preamp, (2) MXL 2001 (large capsule cardioid condenser) (ORTF Configuration)

Process/Issues/Evaluation:

This is an example of two excellent performers in a very complimentary acoustic space (the same 900-seat university recital hall as above).  My method consisted of repositioning the ORTF pair a few times to achieve the desired balance between soloist and accompaniment and between direct and indirect sound.  In the end, this became one of my favorite recordings.  There is no reverb added in this example.  There are edits/crossfades in this example.

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Setup/Equipment

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
• Mixed in Cubase, using MOTU 896 interface
• Hamptone HVTP2 tube preamp, (2) MXL 2001 (large capsule cardioid condenser) (Overhead ORTF placement)
• ART Tube MP preamp, Heil PR40 on bass drum

Process/Issues/Evaluation:

This session was particularly interesting for several reasons.  The multiple-percussion setup of this piece resembles a drumset in that it’s main elements are kick drum, snare drum, tom-toms and cymbals, with bongos, and various woodblocks and cowbells added.  In planning, I vacillated between close mic’ing the various instruments or groups of instruments and using a stereo ORTF mic’ing/bass drum or spaced overhead pair/bass drum setup. After some brief experimentation, I decided to use an overhead ORTF pair and bass drum mic, for several reasons.

With the spaced overhead pair setup, the non-cymbal voices were noticably “deeper” in the stereo field than the cymbal, causing an timbral and volume imbalance.  The ORTF pair achieved a more “realistic” environment, that is, the impression of being in a small room full of instruments being hit, and not a “fabricated” acoustic space (which would have occured in a dry, close mic’ing situation).

In the end, I was pleased with this recording.  I avoided the main personal objection I have to many studio concert percussion recordings;  many times, the sounds are more like drum sounds you’d hear on a pop or rock record, unlike the piece would sound in performance.  While these are aesthetic preferences, I currently feel that the ‘acoustic’ approach is closer to the spirit of most concert percussion pieces.  In most cases, the pieces were written for live, acoustic performance and recordings I make of them should reflect that aesthetic intent as much as possible.  There were edits made in this example, no reverb was added.

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Setup/Equipment

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)
• Mixed in Cubase, using PreSonus Firepod interface (44.1kHz, 16bit)
• Hamptone HVTP2 tube preamp, (2) MXL 604 (spaced omni pair configuration – 1.5m separation)
• PreSonus Firepod, pressure zone microphone (hemispheric polar pattern), on floor near lip of stage, equidistant from 604s

Process/Issues/Evaluation:

In this particular space, (a 900 seat university recital hall), the spaced omnidirectional pair with a touch of the pzm mixed in has become a favorite setup of mine for recording piano recitals.  I have tried ORTF, XY and close ORTF, with and without a hemispheric mic, and the omni pair provides the piano tone and combination of direct and reverberant sound I am looking for.

There is no reverb added, or editing/crossfading in this example.

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Setup/Equipment

• MOTU 896 interface (recording at 96kHz/24bit) – Onboard preamps used

• Hamptone HVTP2 tube preamp – Vocals and direct input electric bass

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)

• Microphones:

Vocal – Heil PR 40 (cardioid dynamic)

Piano – MXL 603 (cardioid condenser) (ORTF Configuration)

Drum Overheads – (2) MXL 2001 (large capsule cardioid condenser) (spaced pair placement)

Bass – Direct input

Process/Issues/Evaluation:

This live multitrack session was completed in a house dining room with no baffling/gobos.  The main challenge was capturing the vocals without too much bleed from the drums, for maximum flexibility in mixing (the vocalist was not playing piano).  The null point of the vocal microphone faced the drums.  Additionally, the mic was placed at standing height in a doorway which led to the larger living room, where I liked the sound of the voice better (this also helped with separation).  This was a sort of “lesser of two evils” choice, as the room reflections complicated adding reverb (very slight) convincingly.

There is no editing/crossfading in this example.

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Setup/Equipment

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)

• PreSonus Firepod (onboard preamps, analog outputs), (2) MXL 2001 (large capsule cardioid condenser) (ORTF Configuration)

• ART Tube MP preamp, MXL 604 (small capsule omnidiretional condenser)
• Edited in Cubase

Process/Issues/Evaluation:

Solo marimba in a large concert hall (2,100 seats).  The instrument was noisy, however beginning around 00:14 seconds, what sounds like distortion does appear.  A particular frequency range **(name it)** was problematic, most likely to the mic amplifier circuit.  Because the session was gratis (and during a specified time slot), I did not stop the performance to try to troubleshoot the situation.

There is no reverb added, or editing/crossfading in this example

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Setup/Equipment

• TASCAM DA 38 Digital Tape Recorder (44.1kHz, 16bit)

• Mixed in Cubase, using MOTU 896 interface

• Hamptone HVTP2 tube preamp, (2) MXL 604 (small capsule omnidirectional condenser) (spaced omni pair configuration – 3ft. separation, 6ft. height, right mic facing top strings, left facing center strings)

• ART Tube MP preamp, pressure zone microphone (pzm) (hemispheric polar pattern), on floor between spaced omni pair

Process/Issues/Evaluation:

This track comes from a recording session that took place over several days in a university recital hall (900 seats).  Though no splicing was necessary in the end (the performer was exceptional), making sure the setup was exactly the same session to session was a challenge.  Additionally, using the spaced omni pair in close proximity to the instrument required careful placement, resulting from a bit of experimentation.  In the end, I felt the ratio of direct and reverberant sound was exactly what I had in mind, without the use of much of the signal from the hemispheric pzm.

There is no reverb added, or editing/crossfading in this example

Back in early 2008, I had the pleasure of recording Ryan Leatherman, a very talented saxophonist playing with a jazz quartet for a demo CD.  The recording was done in Smith Memorial Hall Rm. 25.

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Setup/Equipment

• MOTU 896 interface (recording at 96kHz/24bit) – Onboard preamps used

• Recorded and mixed in Cubase

• Drum overheads preamplifier – Hamptone HVTP2 tube preamp

• Microphones:

Sax – Heil PR 30 (cardioid dynamic)

Bass – Heil PR 40 (cardioid dynamic)

Guitar – MXL 603 (cardioid consenser)

Drum Overheads – (2) MXL 2001 (large capsule cardioid condenser) (ORTF                    Configuration)

Bass Drum – Shure SM7 (cardioid dynamic)

Process/Issues/Evaluation:

This live multitrack session was completed in a lecture hall/jazz rehearsal space with no baffling/gobos.  The quartet set up as if performing live, except that the saxphonist faced across the front of the band to keep the polar response null point of the sax microphone facing the drums.  This was done to allow maximum flexibility in mixing the sax.  This also placed the mic facing the keys, for a tone which I prefer.  The bass mic looked up to a spot slightly above the bridge, very close.

The main issues in this session centered on maintaining a very natural performance feeling for the musicians while giving me tracks which were mixable and flexible (mainly by having properly selected mics and rejecting direct sound from the drums).  Perhaps I would use a close mic on the snare drum, if I had another shot at this session.  I feel like the high ratio of indirect to direct snare drum sound is slightly inconsistent with the intimacy of the cymbals, but not objectionable.

There is no editing/crossfading in this example.