Vision and work
Less is more. I prefer the dynamic and realistic soundscape of a pair of well placed, good quality microphones over the reduced depth of field that a microphone forest creates.
It takes time. Placing 80 microphones in an orchestra is a safety-procedure and an easy way to balance in post-production, yet at the high cost of an artificial sound and fake depth. Balancing on the spot creates a stable image and the most beautiful sound, so little or no use of supplementary microphones is needed, thus preserving the natural sound of the ensemble. This way of balancing easily takes over one hour, but it saves many hours in post and provides an on-site result that is both beautiful and trustworthy.
I started recording for concert archive: concerts of myself and friends, demo-recordings for Youtube, a lot of trial and error. Step by step, inspired by the many CD recordings I played with my own and other ensembles, I dived into the recording profession: CD recordings in Belgium and abroad, audition videos for singers, concert recordings with multicam and professional sound...
I limit my recording jobs to the classical acoustical repertoire, ranging from solo harpsichord to vocal polyphony to opera to full orchestra with choir and soloists.
Despite the fact that I can effectively record in surround, I limit myself to stereo projects only. CD projects usually are recorded at 88.2kHz/24-bits and downsampled to 44.1kHz/16-bits, video projects at 96kHz/24-bits and rendered at 48kHz. Higher samplerates are possible on request, but I see absolutely no need as the listening difference is debatable, if any.
It takes time. Placing 80 microphones in an orchestra is a safety-procedure and an easy way to balance in post-production, yet at the high cost of an artificial sound and fake depth. Balancing on the spot creates a stable image and the most beautiful sound, so little or no use of supplementary microphones is needed, thus preserving the natural sound of the ensemble. This way of balancing easily takes over one hour, but it saves many hours in post and provides an on-site result that is both beautiful and trustworthy.
I started recording for concert archive: concerts of myself and friends, demo-recordings for Youtube, a lot of trial and error. Step by step, inspired by the many CD recordings I played with my own and other ensembles, I dived into the recording profession: CD recordings in Belgium and abroad, audition videos for singers, concert recordings with multicam and professional sound...
I limit my recording jobs to the classical acoustical repertoire, ranging from solo harpsichord to vocal polyphony to opera to full orchestra with choir and soloists.
Despite the fact that I can effectively record in surround, I limit myself to stereo projects only. CD projects usually are recorded at 88.2kHz/24-bits and downsampled to 44.1kHz/16-bits, video projects at 96kHz/24-bits and rendered at 48kHz. Higher samplerates are possible on request, but I see absolutely no need as the listening difference is debatable, if any.
Equipment
Main omni microphones: B&K 4006 & DPA 4006tl / rentals: Neumann M150, Josephson C617set
Main cardioid microphones: DPA 4011, Schoeps MK4 / rentals: Neumann M149, Brauner Phantom & Classic
Main figure-of-eight microphones: Rode NTR (ribbons), Audio Technica AT4050st
Spot microphones: Line Audio CM3, Line Audio OM1, DPA 4061 (miniature), Audio Technica AT4050
Main cabling: Van Damme VDC Starquad / custom-made spot cabling
Pre-amplifiers, D/A and interface: RME UFX & Octamic D / Focusrite backup / rentals: DAV
Sound recording, edited and mastered in Sequoia software with use of iZotope plugins
Video cameras (DSLR): Panasonic FZ1000
Video edited in Premiere Pro software
Main cardioid microphones: DPA 4011, Schoeps MK4 / rentals: Neumann M149, Brauner Phantom & Classic
Main figure-of-eight microphones: Rode NTR (ribbons), Audio Technica AT4050st
Spot microphones: Line Audio CM3, Line Audio OM1, DPA 4061 (miniature), Audio Technica AT4050
Main cabling: Van Damme VDC Starquad / custom-made spot cabling
Pre-amplifiers, D/A and interface: RME UFX & Octamic D / Focusrite backup / rentals: DAV
Sound recording, edited and mastered in Sequoia software with use of iZotope plugins
Video cameras (DSLR): Panasonic FZ1000
Video edited in Premiere Pro software
References and media
Korneel Bernolet (Youtube, CDs), Apotheosis (Youtube, CDs), Utopia & InAlto (Youtube, CDs), BachPlus (Youtube, CDs), Frank Agsteribbe (CDs), cantoLX (Youtube & CDs), BachPlus & Bart Naessens (Youtube, BachPlus), Bart Rodyns & Nicolas Callot (CD), International Opera Academy (Youtube), pianotrio Impression (Youtube & CD), Guido De Neve (CD), Mario Sarrechia (website demos)...
