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Example 2: Clarinet and Piano
[128Kb] [320Kb]
This recording is an example of the basic student recital: Two microphones, 2 preamps, and a DAT. Simple and easy, this recording will still give you a great result.
Example 3: Jazz Sextet
[128Kb] [320Kb]
This recording was made mixing straight to stereo while doing sound reinforcement for the concert. We used a combination of quality microphones with tube preamps and compressors in this recording. It was mixed on a medium-quality sound reinforcement console. This recording represents a higher priced option for the Combo Recital Package.
Example 4: Chamber Orchestra with Rock Band
[128Kb] [320Kb]
What happens when you are faced with the task of making a 20-piece chamber orchestra balance a rock band? To make this even more difficult, the performance was in a small (300 seat) recital hall. Fifth Circle Audio was confronted with this exact task. We used an extensive microphone setup inside the orchestra to get a more "commercial" sound and to get enough sound from the acoustic instruments to balance the rock band when necessary. In this performance, we split every microphone on stage between a house sound reinforcement console and a back-stage recording console. The enabled us to have separate mixes for the sound reinforcement and the recording so neither would be compromised. When we mastered this work, we found that different effects settings worked on different sections of the music. We also had to overlay some sound effects in the music (not represented in this clip). To make all of this work, we ended up editing together all our different sounds for the final master.
Example 5: Big Band
[128Kb] [320Kb]
This recording is another mixed straight to stereo while doing sound reinforcement. The interesting bit in this recording is the sound of the audience. When we do jazz recordings, we put up microphones specifically to record the audience reaction. This will give the listener a feeling of being at the concert.
Example 6: Early Music Ensemble
[128Kb] [320Kb]
This is from a recording session done in a large stone church. Here we used a combination of close micing and distant ambient micing to achieve a balance of clarity and the beautiful sound of the room. It was mixed directly to stereo. This is an example of what you might get with your Gold Standard level of recordings.
Example 7: Vocal Jazz Soloist
[128Kb] [320Kb]
Here we were presented with a client that wanted her live recording to sound as good as any studio date. We brought in the highest quality gear that it is possible to use. No expense was spared and the result was very good. We also multi-tracked this concert to allow for a remix. We did not end up using it as the client was quite pleased with the recording made live to stereo. This is an example of the Gold Standard Recording as applied to a jazz performance.
Example 8: Chamber Jazz Ensemble
[128Kb] [320Kb]
Here is an ensemble consisting of piano, harp, acoustic (nylon-stringed) guitar, bass, drums, and saxophone. This recording was made while mixing the show from the front of house console. In this example, the recording was made on a multi-track recorder to aid in the balance of the ensemble in post-production. Instead of putting each microphone on its own track, collections of instruments were recorded onto stereo sets of tracks. It was not possible to do a full remix of every instrument, but it was possible to re-balance the solo instruments against the rhythm section. In this recording, the equipment used was top quality from start to finish, from microphones to the post-production workstation. This would be considered a Gold Standard Recording of a jazz performance, however it would be somewhat cheaper than a full multi-tracked recording.
Example 9: Contemporary Music Ensemble
[128Kb] [320Kb]
Contemporary music often requires large setups to achieve the balance desired by the listener. Here, we have an ensemble of about 8 players. We used about 10 microphones on this recording. Like the Early Music example, we used a combination of close micing and ambient micing of the room. This is a classical example of what you may get in a Combo Recording.
Example 10: Studio Orchestra
[128Kb] [320Kb]
This is from a live performance of a film score. We used about 40 microphones for this recording. Every microphone's signal was split to go to a back-stage recording console and a separate console for the house sound reinforcement. This recording was made in a great acoustic space that required very little sound reinforcement. Many of the microphones on stage were never turned on in the house, but were needed for the recording. Splitting the microphone's signals enabled us to get a superior recording without worrying about the levels in the house. Like most of the other examples on this page, this was recorded directly to a stereo tape.
Example 11: A capella vocal quartet
[128Kb] [320Kb]
This recording was made in a large church during a concert. Because we had a very good sounding room, we put up microphones to capture the ambience as well as microphones for the ensemble. In the post production, we did not have to add any extra artificial reverb. We did however have to do some fancy tricks to get rid of the low frequency rumble in the room without hurting the sound of the recording.
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©2000-2005 Fifth Circle Audio · www.fifthcircle.com |
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Fifth Circle Audio is equipped to record a wide variety of music. We regularly work with ensembles that range from soloists to orchestras to jazz combos to big bands. Please listen to our sound samples of our work. The MP3 files here represent the current highest fidelity internet music format. The low-fidelity files were encoded at 128 KB/sec (average about 1.7 MB), and the high-fidelity files were encoded at 320 KB/sec (average about 5 MB).