Although the SM58 is an industry standard and a truly great microphone, it has a serious proximity effect. In other words, its sweet spot is 4 to 6 inches from the ball. Most classical vocalists that I've recorded in a recital situation hesitate to stand before a mic and stand. Usually if P.A. miking is necessary, it's from a short distance away.

A good studio condenser mic works well for recording because you can place it several feet from the subject and still get a smooth response. I've also had success recording with a quality shotgun mic placed a few feet away and aimed at the vocalist.

The sound of the vocalist should not be influenced by a mic or sound system. That's why most "recital halls" are relatively small.

I've also found that college auditoriums often rely on "overhead" mics for recording programs (it's the easy way). Generally, not a good idea for primary tracks...perhaps for ambience.

Be sure to mic the piano. Stick your head under the lid while someone plays, listen with one ear and find a place where the tone is balanced...not too boomy or tinny. Without the luxury of stopping the program and changing the mic placement, you have to play it by ear. A stereo mic is nice.

The most important point is that a classical recital should sound natural. Steer clear of high compression, wave hammer, etc. Any processing that you apply should be perceived as transparent.

A recital is a performance...but a performance is not necessarily a recital. The finished product should represent the artist's natural talents.

Good luck!

I do a lot of this kind of work and try to keep it as natural as possible. I will use a pair of AT 3035 either on a single stand center or spread apart at 25% 75% points in front of the stage. The choice is based on where I can set up the cameras. I want to keep the mics out of most of the shots.

When I can get a PA feed I will record it to seperate channels so I can choose the best signal in post. I have learned the hard way not to rely on someone else mix as the only source.

If you have two NT1s I would use those. I would try to keep the mics away from the speakers. They will not give you a clean sound. I like the sound of a piano with the mic under the lid, but I only use it if the piano is the focus of the recital.

I have done only a couple of vocal recitals and usually record strings. My daughter plays and teaches viola which is why I got into this.

I record to a seperate HD recorder (Edirol R-4) at 24bit, 48 KHz as Bob suggested. I also feed the same mix to the camera. I leave the second camera audio to the oncamera mic to pick up what might be missed by the other mics.

Try to attend a rehearsal if you can. Every recital is different. You can judge from that the strength of the voice and the blend between the piano and the singer. Usually classical singers do not want to use mics. I have had to reassure the singer the mics were for recording only and would not amplify them.

Get as much information as you can before hand. Know the program and what is used in each piece. You may find the piano is not always a part of the performance. I did one recital where the pianist disappeared and a guitarist came out to accompany the next piece. I wish I had known so I could have had a mic directly on the guitar.

Good luck with the recital and let us know how it goes.

Charlie

Hey thanks guys for all those excellent tips - and keep 'em coming, anyone else.

I only have one NT1, but I think I'll use this as an excuse to get another - I guess it'll be a NT1A,

The recital is very much vocal, with the piano as accompaniment - the soprano, who I'm meeting tomorrow, is hoping to use this DVD to help get into a big London School, so that's why I want to do her voice justice - I haven't heard her yet but I'm told she's sensational!

Given the importance of the recording I'd be thinking about overdubbing her voice later. The NT1 is a pretty big mic, if they're also going to have a mic for the PA as well it's going to look pretty cluttered.
So long as you've got a clean track of the piano doing a new vocal track later would seem the best approach. One could get an impulse of the venue and use acoustic mirror to match the vocal recording into the space.
From my experience though a lot of performers take a lot of convincing about doing this. Once I've got them started though they've take to it very well.

Yes I see the idea Bob, but I honestly think I'll be able to get a better result by recording her actual performance - by placing mics at various places I should get plenty of choice of recordings, and I can either choose the best or make a mix of all or some. I know mic placement will be restricted because of audience concerns, but I intend getting there in plenty of time to choose some good but unobtrusive spots. That reminds me - I'll need some more XLR cables ....

Good idea about getting impulse / Acoustic mirror, in case any touching up is needed.

Also, although obviously the quality will matter, it doesn't need to be absolutely pristine, and I'm sure the people in London will be able to judge her potential from what I do.

Anyway I'll find out a lot more from the lady herself tomorrow evening.

Peter,

It is very important IF they have a "dress rehearsal" that you experiment there.
I have on several occasions had to use dress rehearsal footage in the final video. Sometimes technical problems occur at the final performance and sometimes the talent happens to be better at the rehearsal.

Also, with a house feed you are at the mercy of the person operating the sound board. They often don't know what they are doing. Send the house feed into a multi track recorder (pre-fader) and use it as a backup if you need it. Ditto on miking any of the house speakers. The sound operator isn't concerned about YOUR video. If he changes the level unexpectedly it can distort your mike feed from that speaker. Now if there is a body mike feed, record that onto a separate track as well.

Don't buy any more mikes. Experiment with what you have. If you put any on the stage apron use shock mounting techniques in case there is any thumping on the floor for any reason. You shouldn't have a problem because the performer isn't moving around. Mike in mono, of course. You WANT a live recorded sound so don't try to isolate her too much. But also, don't get TOO close to the audience so that you end up picking up chatter, coughing, etc. Try to eliminate as much as possible having to "fix it in post". If you end up with something like an old guy with a hearing aid turned up so that it makes a constant loud whistling noise have an assistant go over to the wife (if there is one) and tell HER. She will poke him in the ribs to turn it down.

John

Thanks John for those excellent points.
Peter

Ever thought of renting some decent mics? Couple of small condensors or ribbons in stereo would be a nice mix. I've done this with two AT 4051s and gotten good results. Oh yeah, great preamps always help.