[Scott Dorsey]

lewdslewrate wrote:
x4 soloists (pro trainee's) in line almost with conductor....small
orchestra (32) spread longer than deep.....130 person choir (strong
voices - pro groups mixed with competent teens and teachers), 3 level
riser.

ORTF -MC930 - good spot flown just behind conductor (source angle 120
deg)
ORTF -C414XLS cardioid - almost above first row of choir (source angle
nearly 180 deg) I am negotiating some rigging to move them back a
bit.....hoping angles and cardiod pattern will minimise getting too
much of orchestra.

How much signal pickup will they have in common?

**Is ORTF best configure for choir - is there an issue delaying
different recording angle of choir pair to conductor pair....or am i
being too fussy?**

Not knowing your room or choir or mikes, I can't say. But I will say
that mixing two stereo pairs in the same room is asking for trouble
in general. You can do it but you have to think about isolation.

I think you are much better off trying to think about recording the
room with a single mike pair, then adding spots on the choir.

You're not recording instruments and people, you're recording the room.

Literature says spot mics with ORTF is problematic...i want to spot
mic the basses that will be at the extreme right of the orchestra and
right on edge of proposed acceptance angle of mics...worth a try?

Why? They'll be fine. The acceptance angle of the mikes down at 100 Hz
is nearly 360 degrees.

A D&B tech is running seperate lines/mics to give some FOH
reinforcement but also foldback to monitors flown above the choir. He
also sends a 100% wet reverb to multi speakers fixed down the hall.
The hall is a great sports hall!

That's bad news. I'm sorry. That makes your job a thousand times harder.

I confess to having read more theory (not always understood) than
having actual experience....but as Manuel says..... "i learn Mr
fawlty.i learn"

Get a pair of mikes, go to rehearsals and move them around.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."