Whenever
I'm asked to make a location recording for a female soprano
the first mic out of the box is the AEA R84 ribbon. Matched
with a decent preamp it has everything you need to get
the best sound in these jobs. Classical sopranos have
a stupendous range and the top end can be painful if not
handled well. In most recording situations there are usually
a few different mics that I might try on the day but most
condenser mics tend to be too bright while the AEA has
just the perfect characteristics for this job. The top
end is smooth and polished and there is a real authority
in the mids that give it an edge over anything else I
have used. Interestingly the day before we received one
of Advanced Audios CM12 valve condenser mics and so were
keen to try it out against the AEA ribbon. We are fans
of the Advanced Audio CM47 which we use a lot in the studio
as a vocal mic and were keen to hear how the sister mic
the CM12 would sound.
The
mics were set up about 3 feet in front of Alex who was
facing the piano about 18 feet away under the large crossing
arch in the church. You can have problems with proximity
effect on big ribbon mics but I always listen very carefully
to the bottom end and move the mic away until its not
really a problem. If you have to work closer then use
a pre like the focusrite isa 428 which is great for ribbons
with tons of clean gain and a great hi pass filter. In
may ways these sessions are all about looking out for
overloading in the mics and pres and if you get any clipping
then its a retake at a lower level.
The
piano was miked up with a hebden sound 3000 omni about
3 foot from the open lid and another Hebdensound was put
up between the singer and the piano for some natural ambience
if we wanted it. I experimented a little with the CM12
as it's a 9 position multi pattern mic and I always like
to include some of the natural ambience of the church
in the vocal. With the AEA of course being a figure 8
mic you always get some of the room in the recording (
Dont be afraid of the room. It's your friend). I never
take compressors out with me on location (unless it's
a live concert) prefering to ride the pres to get a decent
level and with this session everything was put down flat.
I will eq and compress everything if necessary at the
mix.
It
was pretty apparent to me on the day that while the CM12
is a really nice mic with great headroom it doesnt have
that same flattering top end as the AEA ribbon. With a
different singer in the studio the CM12 is brilliant and
John S has just finished the new Mostly Autumn album using
the CM12 as the main vocal mic on the whole session. Brian
the singer loved it and on a dense mix the brightness
of the CM12 helps the vocal sit nicely on top of the mix.
Its the same old Horses for Courses but in this race the
AEA is imperious.
Back
in the mix, a bit of volume automation riding the compresser
( waves RVox) a little reverb and Bob's your uncle.
