If you can, please post a sample I'm always interested in learning. But is it the best you can do in a tiny room? I'm thinking it just might be.
![fake rock opera singer fake rock opera singer](http://www.neildrover.com/wp-content/uploads/2015/06/Karen-Logan-Pic-3-1.jpg)
You'll undoubtedly have to experiment some to find the right place. The piano is going to have to be close miced, a pair of cards or fig 8s (ribbons?), perhaps right over the strings. But a good ribbon can probably take whatever she can dish out (fingers crossed). I'm thinking a ribbon on the singer because I'm not sure that a condenser can take it (as Studer58 points out in post #7 above), depending on the singer of course. I'd much rather be more than 1m away from her mouth, but in this case I'd be looking at maybe 30cm instead. The other is to get in close to maximize the signal to noise ratio, much as I hate that idea with a trained singer (or a piano for that matter). One is by choosing polar patters and using the nulls as well as you can. The only way out is to render these reflections moot. Nobody likes this because it sounds like mud. These reflections, when added to the direct sound, creates a long smear. Rapid reflections are the culprit, and in a small room you get them from all surfaces, and with very small time spacing between the reflections from the five major surfaces. Have your Bricasti handy in post.I've been scratching my head over this one since the OP. Spray-paint the rock with a black or brown base. 12 Using a fan can help the paper mache to dry faster, especially if the weather is cool. So supercard or fig8 and you want to maximise the direct sound, so get in close. Keep the fake rock in a well-ventilated area and check it every so often to see how the paper mache is drying. You need mics with the highest direct to reverb ratio and or nulls. This is why one avoids it at all costs for recording. Sound is everywhere instantly in a small room. Good luck, take photos, write notes to yourself for later. Is a condensor mic the best approach.a loud soprano can so easily induce 'shatter distortion' in a condensor mic that no other input seems able to (maybe it's the inherent harmonic structure ? )Ĭonsider a ribbon instead, even a very good dynamic ? At the very least have a couple or 3 alternate voice mics all inputting simultaneously, and reject any which give you the 'shatter' immediately. Tame the walls, floor with some absorbing material.at least to break up flutter echoes a little. Very conservative input gain level on her vocal mic, perhaps even a limiter to give you a safety margin for that last 3% of her dynamics. Preparation could include:ġ metre at least between singer and mic, ideally more than that.
![fake rock opera singer fake rock opera singer](https://www.neildrover.com/wp-content/uploads/2016/09/Jamie-Mac-Live-1-1.jpg)
This will excite all the room modes in the least desirable ways.
#FAKE ROCK OPERA SINGER FULL#
We don't know the material or whether she's going to let fly in full surface to air missile mode.but you have to assume she will, and be prepared for it. All the preceding responses about trying to eliminate the room are right on the money.