In Half Considered one of our jazz recording session at Salvation Studios in Brighton, we regarded on the significance of capturing musicians enjoying collectively as an actual ensemble.
For Half Two, Sean Genockey takes us a lot deeper into the technical facet of the session. He explains his microphone selections, room placement, section relationships and why he determined to document the trio utilizing two very totally different approaches.
The musicians featured within the session are:
Lior Solomons-Smart on piano Noam Solomons-Smart on drums Edouard Le Feuvre on double bass
You can even obtain the free multitracks from the session right here and experiment with Sean’s microphone selections and two contrasting recording approaches your self.
The primary setup provides Sean loads of separation and management for mixing. The second locations the musicians a lot nearer along with fewer microphones, extra room sound and a better emphasis on pure interplay.
Recording the Piano
The piano setup might look elaborate, however each microphone has a particular objective.
Sean combines Neumann U 87s with Coles ribbon microphones positioned extraordinarily shut to at least one one other. Preserving the capsules shut helps minimise section issues and permits the 2 totally different microphone characters to work collectively naturally.
The U 87s present readability, element and openness whereas the Coles ribbons convey heat, weight and a smoother tonal steadiness. Quite than selecting between them, Sean can mix the microphones to seize a fuller illustration of the piano.
A piano is an extremely complicated instrument to document. Its sound comprises an enormous vary of harmonics, overtones and mechanical data. Shut microphones can simply exaggerate sure notes or make the stereo picture really feel unnatural.
Sean has developed this setup particularly for the piano and room at Salvation Studios. It’s a tried and examined approach that enables him to arrange shortly and know that the end result will work.
There isn’t any EQ or compression on the principle piano microphones. The sound is created by means of placement, microphone alternative and the pure character of the instrument and room.
Utilizing an RE20 for Piano Solo Lifts
An Electro-Voice RE20 is positioned near one of many piano’s sound holes.
By itself, the microphone sounds extraordinarily aggressive and closely compressed. Sean runs it by means of an 1176 with all 4 ratio buttons engaged.
It’s not supposed to offer the principle piano sound. As an alternative, it acts nearly like an impact return that may be introduced ahead throughout solos or vital musical moments.
Quite than merely turning up the complete piano group, Sean can experience the RE20 into the combo. This modifications the tone and vitality of the piano with out making the general degree really feel unnaturally louder.
It’s a intelligent means of making pleasure by means of tonal distinction.
Capturing Pure Piano Atmosphere
A pair of Neumann M 150 omnidirectional microphones is positioned excessive within the room.
These microphones seize the pure reflections and atmosphere across the piano. As an alternative of relying fully on synthetic reverb later, Sean information the sound of the particular area.
Room microphones can present depth and realism that’s tough to recreate with a plug-in. In addition they assist set up a plausible sense of distance between the listener and the instrument.
Recording the Double Bass
For the primary setup, the double bass is positioned in a separate sales space.
Sean had beforehand recorded the bass in the principle room, however found that compressing the bass microphones throughout mixing additionally altered the low finish of the piano due to the bleed.
Transferring the bass into the sales space provides him extra management whereas nonetheless permitting the musicians to take care of eye contact.
That visible connection is important. Jazz depends closely on communication, timing and response. Isolation is helpful, however it ought to by no means make the musicians really feel disconnected.
The Salvation Studios format makes it doable to realize separation with out sacrificing line of sight.
Combining Two Bass Microphones
Sean makes use of two contrasting microphones on the double bass.
The primary is a DPA small diaphragm condenser. It captures element, assault and the percussive qualities of the strings.
The second is a tube microphone with better low-frequency extension and a broader dynamic vary. It captures extra of the physique, resonance and weight of the instrument.
Collectively, the microphones present management over each the articulation and the deep elementary tone of the bass.
The double bass generally is a notably tough instrument to document. It produces sharp string noise, woody midrange data and intensely deep low frequencies. Sean’s strategy is to seize these traits actually quite than making an attempt to resolve every thing by means of heavy EQ and compression.
Inserting the Bass Preamps Close to the Instrument
One notably attention-grabbing determination is the position of the microphone preamps contained in the bass sales space.
As an alternative of sending a low-level microphone sign by means of an extended cable run to the management room, Sean amplifies the sign near the instrument and sends a line-level sign again to the console.
He feels this offers a stronger frequency response with much less noise, notably when recording an instrument with such deep low-frequency content material.
The bass microphones feed classic Rosser microphone preamps adopted by a Roger Mayer passive transformer-based EQ. The EQ offers further low-frequency character and sufficient degree to ship a powerful sign by means of the lengthy cable run.
The result’s a clear, full and secure bass recording earlier than the sign ever reaches Professional Instruments.
Recording the Drums
The primary drum setup is deliberately complete.
Sean makes use of an AEA R88 ribbon microphone alongside a pair of Gefell condenser microphones as two totally different overhead choices.
The R88 offers heat, depth and a clean stereo picture. The condensers present extra exact transient data and a extra open high-frequency response.
As with the piano microphones, the overheads are positioned rigorously so their capsules work collectively with out creating pointless section issues.
The purpose is to not use each microphone on a regular basis. It’s to have totally different tonal choices accessible throughout mixing.
FET 47s on Toms
Sean makes use of Neumann U 47 fet microphones on the toms.
These are microphones typically related to vocals, bass amplifiers and kick drums, however their giant sound and prolonged low-frequency response also can make toms really feel highly effective and full.
It’s a daring alternative, notably for a jazz session, however it permits the toms to talk clearly when wanted with out counting on drastic EQ later.
The snare is recorded with M 69 microphones above and beneath. The kick drum consists of an RE20 inside and a bigger microphone positioned additional again to seize a smoother and extra developed low finish.
Sean additionally information spot microphones on the hi-hat and experience cymbal.
These spot microphones will not be used all through the combo. Nonetheless, they supply further definition when a drummer strikes to the experience or when a small rhythmic element wants to come back ahead.
It is much better to document these choices and never use them than to want them later and uncover they had been by no means captured.
Checking Snare Part
Some of the sensible classes from the session is Sean’s technique for checking the polarity of the underside snare microphone.
He asks the drummer to play a single snare hit and watches the preliminary route of the waveform or speaker motion.
The highest and backside microphones naturally seize reverse actions from the drumheads. Flipping the polarity of the underside microphone may help each alerts transfer collectively and produce better punch.
Sean explains that this is likely one of the first issues he checks when receiving drum tracks for mixing. Incorrect polarity between snare microphones can weaken the impression of the drum significantly.
He additionally recollects the standard studio technique of putting a coin on a speaker. If the speaker moved ahead and threw the coin upwards, the engineer knew the polarity of that channel.
It’s an old-school approach constructed round a quite simple precept. The speaker ought to transfer in the direction of the listener when the drum is struck.
Recording Via the Console
The drums are recorded by means of the Salvation Studios console and printed immediately into Professional Instruments.
A lot of the channels haven’t any EQ. Sean makes solely small changes the place obligatory, together with a bit of EQ on the toms.
The philosophy is to create a sound that already works earlier than it reaches the recording software program.
Quite than treating Professional Instruments as a spot to restore the recording, Sean needs the musicians to listen to a completed and provoking sound whereas they carry out.
He additionally information results and reverbs so the session might be recalled with the supposed character intact.
The target is straightforward. Increase the faders and the document ought to already sound like music.
Altering to a Extra Minimal Stay Setup
After recording the extra managed setup, Sean fully modifications the room.
The bass participant is introduced out of the sales space and positioned a lot nearer to the piano and drums.
The musicians are positioned as shut collectively as doable to create cohesion and scale back the feeling of three remoted devices enjoying in separate areas.
Small glass screens and acoustic panels are used across the bass to offer some management over spill, however line of sight stays a precedence.
Sean explains that blocking the musicians from seeing one another would defeat the aim of recording this manner.
Fewer Microphones and Extra Room Sound
The second drum setup is intentionally simplified.
Sean removes the tom microphones, hi-hat microphone and experience microphone. He retains a high snare microphone, one kick microphone and a pair of overheads.
As an alternative of making an attempt to seize each drum individually, the setup treats the equipment as an entire instrument.
Further room microphones seize the sound of the musicians interacting within the studio.
This strategy accepts bleed quite than preventing it.
Bleed turns into a part of the tone, steadiness and character of the recording. The musicians alter their very own dynamics naturally and the room helps glue the devices collectively.
Why Document Each Approaches?
The managed setup offers flexibility.
The remoted bass, shut drum microphones and a number of piano choices enable Sean to reshape balances throughout mixing. Compression and automation can be utilized with out dramatically affecting the opposite devices.
The minimal setup offers immediacy.
There may be much less management, however there’s typically extra musical vitality. The sound of the room and the bodily relationship between the gamers turns into a part of the efficiency.
Neither technique is mechanically higher.
The right strategy is determined by the musicians, association and emotional intention of the music.
By recording each, Sean demonstrates the distinction between capturing particular person devices and capturing an ensemble.
Efficiency Comes First
All through the session, Sean avoids overcomplicating the music.
When the band begins discussing the best way to end a chunk, his recommendation is to keep away from forcing the ending. He encourages them to play what feels pure and reply to one another.
That philosophy applies to the complete recording.
Microphones, preamps, acoustic screens and section alignment are vital, however they exist to serve the musicians.
The perfect technical setup is the one that enables the gamers to pay attention, react and carry out with out distraction.
The ultimate takes really feel alive as a result of the trio is enjoying as a trio, not as three separate overdubs.
Remaining Ideas
This session at Salvation Studios is a superb reminder that engineering is about balancing management with communication.
Sean’s detailed microphone methods give him the pliability required for a contemporary combine. On the similar time, his minimal dwell setup demonstrates how highly effective a recording might be when musicians share the identical area and create the steadiness themselves.
The largest lesson shouldn’t be that each piano wants a number of microphones or that each jazz session must be recorded with minimal tools.
The lesson is to grasp why every microphone is there.
Use placement to create the sound earlier than reaching for EQ. Examine section earlier than including processing. Protect line of sight between musicians and by no means enable the technical setup to intervene with the efficiency.
Most significantly, take heed to what the musicians are creating collectively.
You can even obtain the free multitracks from this jazz recording session right here and discover each approaches for your self. Attempt mixing the totally different piano microphones, evaluate the drum overheads and take heed to how the room sound modifications the sensation and connection of the trio.
The transcript for this session consists of the total dialogue of Sean’s microphone placement, sign paths and recording selections.
