Best Orchestra Sounds

[Inter Media]

Nothing can be better than the real thing, but can the real thing be
cheaper than a sample library? Well, yes, if you look at the prices of top
libraries, you can be surprised at what we can offer for less than the cost
of a single library. If you need real orchestra playing in a real concert
hall, or in a studio, we can provide an orchestra (or a group) of any size,
to fit any budget. We can also provide arrangements and orchestration. We
can send MP3s to check out what someone can expect to get, but be sure that
only top quality musicians are engaged.

Branislav Tchaikovsky

[Dave Martin]

"Inter Media" > wrote in message
...
>If you need real orchestra playing in a real concert
> hall, or in a studio, we can provide an orchestra (or a group) of any
size,
> to fit any budget. We can also provide arrangements and orchestration. We
> can send MP3s to check out what someone can expect to get, but be sure
that
> only top quality musicians are engaged.
>
>
Though I don't need an orchestra this month, I would like to know more about
what you offer. Where is the orchestra, what hall do you use, and how do you
record it? Some hint about your typical budget would be interesting as well.

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com

[WillStG]

<< (R Krizman) >>
<< Moscow? >>

Probably Serbian or Yugoslavian, his ISP is in Beograd.



Will Miho
NY Music & TV Audio Guy
Fox And Friends/Fox News
"The large print giveth and the small print taketh away..." Tom Waits

[R Krizman]

<< Yugoslavian >><BR><BR>

There's still a Yugoslavia?

-R

[Inter Media]

(R Krizman) wrote:

> Moscow?

Belgrade

> There's still a Yugoslavia?

The remainings of Yugoslavia are now called Serbia and Montenegro.

[Scott Dorsey]

In article >,
WillStG > wrote:
><< (R Krizman) >>
><< Moscow? >>
>
> Probably Serbian or Yugoslavian, his ISP is in Beograd.

My experience with the Czech orchestras-for-hire have been really good ones.
Competent folks who can sight-read and get it right on the first take. A lot
of the film guys are now going to Eastern Europe for soundtrack recording.
Dunno any Jugoslavian ones but there are some fine musicians there.
--scott

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

[Scott Dorsey]

Inter Media > wrote:
>
>Anyway you specify, but usually with an ORTF pair plus spot microphones.
>Spot microphones are Neumann U87/U47 and I'll be getting a new pair for
>ORTF and was thinking of buying Senheizer MKH series, but would like an
>advice, if there is a better alternative (in the same price range).
>Recording is to 2" 24 track, or (and) Pro Tools with Nuendo (RME) 96k
>converters.

I like the MKH-series mikes, but they have some lower-midrange weirdness
that the B&K, Schoeps, and Josephson Series Six microphones don't have. On
the other hand, they are also a bit quieter.

>Is there some standard fee for a minute of recording time in US?

Yes. Orchestra musicians here have standardized union rates, and while
they can demand higher than standard rates, most don't. So if you know
ths size of an orchestra, you can generally estimate how much it will cost
to hire per hour. Also, the amount of material that can be recorded and
the amount of time that can be spent in a given session (and the amount of
time spent on breaks and between breaks) is specifically regulated by the
union.

This is, in fact, why a lot of classical recording work is going overseas...
--scott

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

[Inter Media]

(Scott Dorsey) wrote:

> I like the MKH-series mikes, but they have some lower-midrange weirdness
> that the B&K, Schoeps, and Josephson Series Six microphones don't have.

So, which specific model would you recommend?

>>Is there some standard fee for a minute of recording time in US?

> Yes. Orchestra musicians here have standardized union rates,

And do you know approximately how much would that be per hour?

> Dunno any Jugoslavian ones but there are some fine musicians there.

Certainly, but if someone is still unaware of the quality of East European
Orchestras, I'll be happy to e-mail MP3s, to check out what someone can
expect to get.

Thanks, Branislav

[Scott Dorsey]

Inter Media > wrote:
>(Scott Dorsey) wrote:
>
>> I like the MKH-series mikes, but they have some lower-midrange weirdness
>> that the B&K, Schoeps, and Josephson Series Six microphones don't have.
>
>So, which specific model would you recommend?

I dunno. I carry around a set of B&K 4055 measurement omnis, a set of the
Josephson 606 hypercardioids, and a pair of MHK-20 omnis. For orchestral
stuff I will sometimes a baffled omni pair with the B&Ks, but sometimes
in other rooms I'll go with the Josephsons. I also have a Schoeps Collette
rig in the bag but I only have the omni capsules on it and it doesn't get
taken out too often. I keep meaning to get hypercards for it.

They all sound a little different. You won't go wrong with any one, but
they are all a little different.

>>>Is there some standard fee for a minute of recording time in US?
>
>> Yes. Orchestra musicians here have standardized union rates,
>
>And do you know approximately how much would that be per hour?

Not offhand. I have a card in my office but I'm right now stuck in
a hurricane. I'd bet http://www.afm.org would have all that info, though.
--scott

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

[Mike Clayton]

In article >, (Scott
Dorsey) wrote:


> I dunno. I carry around a set of B&K 4055 measurement omnis, a set of the
> Josephson 606 hypercardioids, and a pair of MHK-20 omnis. For orchestral
> stuff I will sometimes a baffled omni pair with the B&Ks, but sometimes
> in other rooms I'll go with the Josephsons. I also have a Schoeps Collette
> rig in the bag but I only have the omni capsules on it and it doesn't get
> taken out too often. I keep meaning to get hypercards for it.

Took delivery of the supercardioid heads for my CMC6 barrels on Tuesday,
used them on Wedneday evening for a trio (Flute, Harp and Viola) concert
in a nice hall, NOS. Got a great job, good audience noise (including wood
fire burning in large fireplace!) rejection, lovely space round the
instruments.

Order you supecards right away Scott. Mine cost NZ$2567.25 for the two
heads, so reckon on about half that in US$. Fine microphones.

--
Mike Clayton

[James Boyk]

No one carries a pair of Coles 4038?


James Boyk
http://www.performancerecordings.com/albums.html

[James Boyk]

No one carries a pair of Coles 4038?


James Boyk
http://www.performancerecordings.com/albums.html

[Scott Dorsey]

James Boyk > wrote:
>No one carries a pair of Coles 4038?

I'm sorry, the top end on the 4038 is just way too flabby for me. There's
nothing up there. I can see that being useful for close-miking things, but
not orchestras.

On the other hand, the new 4040 looks like it might have promise. But ask
me about that in another six months.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Scott Dorsey]

James Boyk > wrote:
>No one carries a pair of Coles 4038?

I'm sorry, the top end on the 4038 is just way too flabby for me. There's
nothing up there. I can see that being useful for close-miking things, but
not orchestras.

On the other hand, the new 4040 looks like it might have promise. But ask
me about that in another six months.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[PVP9847]

The 4038's are FANTASTIC for a Bass Section !!!

[PVP9847]

The 4038's are FANTASTIC for a Bass Section !!!

[LeBaron & Alrich]

PVP9847 wrote:

> The 4038's are FANTASTIC for a Bass Section !!!

Which suggests that if one is after the whole orchestra using a pair of
mics, a lot of other instruments may not fare as well as the basses.

--
ha

[LeBaron & Alrich]

PVP9847 wrote:

> The 4038's are FANTASTIC for a Bass Section !!!

Which suggests that if one is after the whole orchestra using a pair of
mics, a lot of other instruments may not fare as well as the basses.

--
ha

[James Boyk]

Scott Dorsey wrote:
> I'm sorry, the top end on the 4038 is just way too flabby for me. There's
> nothing up there.


Gosh... I wish we could listen together. The orchestral recording that Gordon
Holt says is the best he's ever heard---or said so at the time he reviewed
it---was made with 4038 in Blumlein (and no EQ).


James Boyk

[James Boyk]

Scott Dorsey wrote:
> I'm sorry, the top end on the 4038 is just way too flabby for me. There's
> nothing up there.


Gosh... I wish we could listen together. The orchestral recording that Gordon
Holt says is the best he's ever heard---or said so at the time he reviewed
it---was made with 4038 in Blumlein (and no EQ).


James Boyk

[James Boyk]

LeBaron & Alrich wrote:
> Which suggests that if one is after the whole orchestra using a pair of
> mics, a lot of other instruments may not fare as well as the basses.


Well, strictly speaking, it does not imply that. To say that coffee is great
with breakfast is not to say it isn't fine with lunch or dinner. And, in this
case, the implication would be false. Listen to Sheffield album of Chicago
Symphony Winds, or of LA Phil/Leinsdorf doing Firebird, or of Kodo Drummers. All
of these were a single pair of 4038s and no EQ. Or listen to my albums---solo
piano only, unfortunately---on Performance Recordings; cats. from pr3 onward.

Sure, I hope the 4040 has all the virtues of the 4038 plus more; but I'll be
surprised if it does. The 4038 was designed by Shorter & Harwood, two authentic
design geniuses of the BBC. It's not impossible that the new designers would
equal the overall quality of S&H's work, but it's unlikely. And specs on paper
*certainly* do not tell anything!

It's interesting that there's quite a bit of ferment in the ribbon world, yet no
one is following up on Blumlein's own brilliant design for a stereo ribbon mike;
which, if implemented with modern materials & designed to the level that modern
3D magnetic modeling programs allow, would very likely become *the*
large-ensemble mike of choice for many people. I've been trying to get the
industry to pay attention to it for 20 years----I have lab pix of it, and one of
my students spent quite a while working on magnetic design---with no response.

James Boyk

[James Boyk]

LeBaron & Alrich wrote:
> Which suggests that if one is after the whole orchestra using a pair of
> mics, a lot of other instruments may not fare as well as the basses.


Well, strictly speaking, it does not imply that. To say that coffee is great
with breakfast is not to say it isn't fine with lunch or dinner. And, in this
case, the implication would be false. Listen to Sheffield album of Chicago
Symphony Winds, or of LA Phil/Leinsdorf doing Firebird, or of Kodo Drummers. All
of these were a single pair of 4038s and no EQ. Or listen to my albums---solo
piano only, unfortunately---on Performance Recordings; cats. from pr3 onward.

Sure, I hope the 4040 has all the virtues of the 4038 plus more; but I'll be
surprised if it does. The 4038 was designed by Shorter & Harwood, two authentic
design geniuses of the BBC. It's not impossible that the new designers would
equal the overall quality of S&H's work, but it's unlikely. And specs on paper
*certainly* do not tell anything!

It's interesting that there's quite a bit of ferment in the ribbon world, yet no
one is following up on Blumlein's own brilliant design for a stereo ribbon mike;
which, if implemented with modern materials & designed to the level that modern
3D magnetic modeling programs allow, would very likely become *the*
large-ensemble mike of choice for many people. I've been trying to get the
industry to pay attention to it for 20 years----I have lab pix of it, and one of
my students spent quite a while working on magnetic design---with no response.

James Boyk

[Harvey Gerst]

>James Boyk > wrote:

>LeBaron & Alrich wrote:
>> Which suggests that if one is after the whole orchestra using a pair of
>> mics, a lot of other instruments may not fare as well as the basses.

>Well, strictly speaking, it does not imply that. To say that coffee is great
>with breakfast is not to say it isn't fine with lunch or dinner. And, in this
>case, the implication would be false. Listen to Sheffield album of Chicago
>Symphony Winds, or of LA Phil/Leinsdorf doing Firebird, or of Kodo Drummers. All
>of these were a single pair of 4038s and no EQ. Or listen to my albums---solo
>piano only, unfortunately---on Performance Recordings; cats. from pr3 onward.
>
>Sure, I hope the 4040 has all the virtues of the 4038 plus more; but I'll be
>surprised if it does. The 4038 was designed by Shorter & Harwood, two authentic
>design geniuses of the BBC. It's not impossible that the new designers would
>equal the overall quality of S&H's work, but it's unlikely. And specs on paper
>*certainly* do not tell anything!
>
>It's interesting that there's quite a bit of ferment in the ribbon world, yet no
>one is following up on Blumlein's own brilliant design for a stereo ribbon mike;
>which, if implemented with modern materials & designed to the level that modern
>3D magnetic modeling programs allow, would very likely become *the*
>large-ensemble mike of choice for many people. I've been trying to get the
>industry to pay attention to it for 20 years----I have lab pix of it, and one of
>my students spent quite a while working on magnetic design---with no response.
>
>James Boyk

I believe Wes Dooley just introduced a stereo version of the R84, designed for
Blumlein and M-S applications.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[Harvey Gerst]

>James Boyk > wrote:

>LeBaron & Alrich wrote:
>> Which suggests that if one is after the whole orchestra using a pair of
>> mics, a lot of other instruments may not fare as well as the basses.

>Well, strictly speaking, it does not imply that. To say that coffee is great
>with breakfast is not to say it isn't fine with lunch or dinner. And, in this
>case, the implication would be false. Listen to Sheffield album of Chicago
>Symphony Winds, or of LA Phil/Leinsdorf doing Firebird, or of Kodo Drummers. All
>of these were a single pair of 4038s and no EQ. Or listen to my albums---solo
>piano only, unfortunately---on Performance Recordings; cats. from pr3 onward.
>
>Sure, I hope the 4040 has all the virtues of the 4038 plus more; but I'll be
>surprised if it does. The 4038 was designed by Shorter & Harwood, two authentic
>design geniuses of the BBC. It's not impossible that the new designers would
>equal the overall quality of S&H's work, but it's unlikely. And specs on paper
>*certainly* do not tell anything!
>
>It's interesting that there's quite a bit of ferment in the ribbon world, yet no
>one is following up on Blumlein's own brilliant design for a stereo ribbon mike;
>which, if implemented with modern materials & designed to the level that modern
>3D magnetic modeling programs allow, would very likely become *the*
>large-ensemble mike of choice for many people. I've been trying to get the
>industry to pay attention to it for 20 years----I have lab pix of it, and one of
>my students spent quite a while working on magnetic design---with no response.
>
>James Boyk

I believe Wes Dooley just introduced a stereo version of the R84, designed for
Blumlein and M-S applications.

Harvey Gerst
Indian Trail Recording Studio
http://www.ITRstudio.com/

[James Boyk]

Blumlein's stereo design is however unique; not like an ordinary "stereo" mike.
It's astonishing to me that no one's followed up on it, esp. since its imaging
is so good that Michael Gerzon, co-inventor of Ambisonics and a super-expert on
imagine, told me that a third- or fourth- or maybe fifth-generation dub of a
recording by Blumlein himself with the (1934) prototype of this mike had the
best imaging he'd ever heard!


James Boyk

[James Boyk]

Blumlein's stereo design is however unique; not like an ordinary "stereo" mike.
It's astonishing to me that no one's followed up on it, esp. since its imaging
is so good that Michael Gerzon, co-inventor of Ambisonics and a super-expert on
imagine, told me that a third- or fourth- or maybe fifth-generation dub of a
recording by Blumlein himself with the (1934) prototype of this mike had the
best imaging he'd ever heard!


James Boyk