Från partitur till skiva - Att spela in LYRC Orchestras stråksektion

Abstract

This paper seeks to answer the question: “How does one mic, record and process string instruments in a non- classical recording, and where the end product is a soundscape not typically associated with the stringed instrument family?” A few unique challenges were dealt with along the way: How to track the string section, that relies heavily on the acoustics of a given room, very close in order to maximize control over sounds in post- production without losing to much of the characteristics of the instrument. What microphone positions create the ideal sound? My solutions to these challenges is the main body of text in this paper, and my findings can be summarized as follows: overhead micing each violin and viola with large diaphram condenser microphone, micing close to the bridge with a large condenser microphone for the celli, and in post production relying quite heavily on the audio from the room microphone captured with both small- and large-diaphragm condenser microphones.