Mixing classical music live - with Carsten Kümmel # Video 1: Mixing Symphonic Orchestras

All videos of this motherclass in one playlist:
bit.ly/motherc...
Carsten Kümmel is a specialist for live sound in classical music with a breathtaking list of references: He's touring with live productions like Disney in concert or The World Of Hans Zimmer and is a neverending well of hints and tricks when it comes to produce the finest possible live sound for a classical orchestra - be it a symphonic orchestra, an opera, film music or crossover.
Contents of this video:
1. Orchestra Setup: • Mixing classical music...
2. Philosophy of sound design: • Mixing classical music...
3. PA Design: • Mixing classical music...
4. Microphones: • Mixing classical music...
5. Microphone setup for violas in an orchestra environment: • Mixing classical music...
6. More about microphones: • Mixing classical music...
7. Monitoring: • Mixing classical music...
Other parts of this series:
Video 1: Mixing Symphonic Orchestras (basics): bit.ly/mixing_...
Video 2: Mixing Symphonic Orchestras (Console setup, soundceck): bit.ly/mixing_...
Video 3: Operas & Operettas: bit.ly/mixing_...
Video 4: Mixing Musicals, films & crossover: bit.ly/musical...
Video 5: Excerpt - Microphones: bit.ly/excerpt...
Video 6: Bonus Material - PA Design: bit.ly/PA_Design
Video 7: Bonus Material - Localisation / Delta Stereophony System: bit.ly/Delta_S...
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[@FasaFeu]

Very informative and helpful.

[@mothergrid-magazine]

Thank you!

[@thegoodgeneral]

I realize this isn’t within the scope of your channel, but I would LOVE this kind of in-depth look into recording classical music, specifically orchestral.

[@ericpersson8753]

Wow. The scope and depth of knowledge delivered is amazing. I especially like the chapter on mic placement - lots of ideas there I had never thought of. Really enjoyed the video!

[@richardbailey511]

Really glean so much artistic and technical knowledge from your videos. I'm from the United States and recently became acquainted with Dirk Brauner and I'm making quite a connection with the great country of Germany!

[@michaels.9606]

Respekt, Carsten! Von dir lernt man noch dazu!! TOP!!

[@himanshu_dixit]

I've listened to so many orchestral videos but never really knew or tried to understand about the acoustics until now. Thank you for your explaining this!

[@mothergrid-magazine]

Great!

[@rdmccracken]

Truly a talented communicator. Very accessible to me. For those new to microphone technology, seeking definitions of the following terms is certain to add to your understanding: "omnidirectional," "cardioid," "super-cardioid," "hyper-cardioid." Other concepts which are mentioned and will add to your understanding include "comb filter," "near field," and the sound descriptors "warm," "bright," and others. I very much enjoyed this content and hope to find a similar series with Mr. Kummel discussing orchestral recording technique.

[@carstenkummel8038]

thank you

[@Berettadv]

Beautifully explained! So much valuable information and eloquently worded in such an organized and understandable method. Thank you so much!

[@guyodcty]

I just found your videos. you are god sent!!!

[@carstenkummel8038]

thank you, but I just do my work :-)

[@javierjanaid]

Thank you so much for that

[@gabrielelissia]

Awesome content, thank you VERY much for this, really appreciated!

[@melvinch]

There needs to be more videos like this.

[@joseluisgilvazquez8297]

Excelente exposición del tema. Me gustó mucho.

[@AidaKhorsandi]

Thank you!!!

[@bbjib]

Thanks a lot!

[@eingang22]

Fantastic. Thank you.

[@lucasetten]

Sometimes you have to choose certain microphone locations depending on how the orchestra is placed on stage. Placing a microphone between to oboes/clarinets/etc. is great for picking up both instruments. But, if you have a trumpet player directly behind them in the window between the two chairs, well your microphone is going to get blasted with trumpet.

[@NotaBeneRecords]

Very informative, thank you Mr. Kümmel!

[@ishagshafeeg]

Thank you. Brilliant work.

[@azizberk]

Very good video series, thanks a lot (Y)

[@TSUDARGON]

wonderful masterclass

[@bradleygibson1989]

Very Helpful Information, I have been sinking my teeth into chamber orchestra recordings. I have been a long time user of AKG mics, but in the last 4-5 years my collection now is predominately Rode Mics. They too have the flexibility and natural sound Quality's of a Neuman etc. Have you got videos on the studio mixdown of a orchestral live recording. This would be gold if you do.

[@FREIMUZIC]

Great video!! Thank you!!

[@klavierhaltern]

Fantastic!

[@freddypfister7419]

👍🏻 Great

[@mothergrid-magazine]

Glad you like it!

[@Inoxia1234]

Thanks for the great insights!

[@General_Ictus]

How do you feel about the old adage of using ribbon microphones, and specifically Royers on strings?

[@GustavodeFrancisco]

When you record chamber music, using a stereo pair plus some spot microphones, do you add delay to the spot microphones to match the sound phase of the stereo pair caused by the distance of the microphones? If you do so, how do you calculate the delay in miliseconds?

[@curseleisure5507]

Thank you, Carsten, for sharing so much valuable information. I have a question. I have an upcoming sound reinforcement project in a concert hall. The string section is pretty large, with 5 first violins, 4 second violins, and 3 violas on stage right, and 2 cellos and 2 double bass upstage center. However, the woodwind and brass sections over on stage left generonly have just one of each instrument--1 flute, 1 clarinet, 1 bass clarinet, and one oboe, each sitting next to each other from downstage to upstage. Right behind each of these will be sitting various horn players, then behind them are two trombone players. Since there is only one of each instrument and they are sitting quite close together, what would be your approach? One thought I had was to use supercardioid SDCs, one on each instrument, and have the woodwind mics behind the players angled forward (pointing downstage right) towards their instruments from the rear, and the brass mics pointing the opposite direction aimed upstage left pointing towards them from the front. Another thought was to give up on being able to control individual levels of instruments and just have one cardioid for every 4 instruments, and adjust angle and position to balance whatever mix of brass and woodwinds each mic happens to cover. Then I started thinking about figure-8 mics and got overwhelmed. Interested to hear your thoughts on this.

[@LeonErrante]

Thanks a lot!!

[@Volpunko]

Dear mr. Kümmel, is there any production courses for recording classical music? Not only live, but general ideas. I'm recording engineer for 5 years but I'm working with my own equipment and budget is not as wide for many 8040s. Can I have any masterclass from You? Thanks a lot! It's a pleasure to listen to You 🤗

[@carstenkummel8038]

Dear Volodymyr, thanks a lot. Sometimes I have master classes, mostly in Russia or Hungary. But right in the moment none is planned. Sorry

[@thegoodgeneral]

@@carstenkummel8038make a video series, please!

[@BrandonWalkerMusic]

Excellent information and well explained. Diagrams of some of your concepts would have been helpful in the video or as an accompaniment.

[@studentjohn35]

i wonder what this gentleman would make of a Neumann M150

[@marcorossi2182]

How would you mic the violin soloist? Mono + Stereo? thanks :-)

[@carstenkummel8038]

That is a difficult one. Our ear loves time differences. So stereo. But especially a violin starts to jump between left and right. So mono. Hard to decide. I normally go for a stereo with a small distance between the mics

[@GEMINDIGO]

Very interesting thanks but a bit confusing about left and right sides of the orchestra.He would use his left arm to say something about the right side of the orchestra facing the audience and then say something else about the rights side of the stage with his left arm and I'm lost sorry....or did I misunderstand something?

[@mothergrid-magazine]

I think the arm movement is maybe not connected to the speech...

[@gesamtkuntswreck]

Best price to performance: an USD850 SINGLE microphone

[@aires0706]

Thank you for your lesson，I’m wondering the system gain is good in all situations if four violin arts just use one microphone and the microphone distance is far from the instrument?

[@carstenkummel8038]

Dear Zhang, of course it would not be suitable for situations with loud bands. Concerning gain before feedback there are a few things to be tought of. The longer the PA array and the more far away it is it increases your gain. For regular concerts I hardly have problems with that method, even when it gets a bit louder than normal.

[@solenoid-eu1xg]

Those monitors are gorgeous, what are they?

[@carstenkummel8038]

Geithain

[@LazoIV]

Carsten Kümmel, why did you switch from Lawo mc2 to Stage Tec?

[@carstenkummel8038]

Both are fine. I am not attached to a certain brand :-)

[@benjacastro64]

Traducción en Español por favor!!

[@fuzzylightning]

Percussion 44:46

[@starckwest6358]

flutes in gold or silver are next to brass

[@Sound-Definition]

... und jetzt nochmal in deutsch.

[@capomover]

Pfffft.