Recording Trumpet with Engineer Michael Bishop & Cancer Blows Charity Concert

Multi-Grammy Award winning recording engineer Michael Bishop explains how he mics and records this phenomenal CancerBlows live performance. Featuring some of the best-known trumpet players alive, the music is fantastic and Michael’s thoughts on how to capture brass, orchestra and big band properly using ribbon microphones is invaluable.

 

Huge thanks to Ryan and Niki Anthony, Michael Bishop and Erica Brenner.

See more details about CancerBlows.

 The recording is available on Music=Hope Records and all proceeds from the sale of the recording help fund cancer research. Purchase the music: CD/DVD (the full concert and music experience): http://www.cancerblows.com/shop.php

High Resolution HDTracks 

Stream the music

Camellia City Flute Choir

Flute Ensemble – one SF-24V and four SF-2’s

Produced, engineered and mixed by Frank Bevans. Video by Frank Bevans
Recorded at Westminster Presbyterian Church, Sacramento, CA for the Music at Noon Series.

Recording Chain: One SF-24V (over the conductor’s shoulder) and four SF-2’s (one at each corner of the stage). SF-24V into a Millennia HV-3C preamplifier. SF-2’s into Apogee Ensemble preamplifiers. All mics through Apogee Ensemble D/A converters, recorded to Apple Logic Pro.

Camellia City Flute Choir  –  http://camelliaflutes.com
Frank Bevans  –  http://www.fbphoto.com, Facebook

“Anyone in my position who needs to capture the delicate and beautiful sounds of the silver flutes has no choice but to record them with Royer microphones. Plain and simple. Nothing else comes close.”
-Frank Bevans
(For more of Frank’s comments on the recording process, scroll down to below the videos.)

Prelude from Suite Antique (John Rutter, arrangement by Robert Rainford)

Aria from Suite Antique (John Rutter, arrangement by Robert Rainford)

Waltz from Suite Antique (John Rutter, arrangement by Robert Rainford)

Notes from Frank on the preparation for these recordings:
“I remember that set-up being very gear intensive.
I brought: 3 video cameras. Monitors, lights, tripods, cords, cables, plugs.
Audio gear, laptop, preamp, A/D converter, microphones, stands, audio cords, sand bags.
A rolling table and chairs. Not to mention a camera and lights for a group photo and my black suit.

“The acoustics of this old church were remarkable.
No reverb or enhancing effects were added to this recording.
The beautiful sounds you hear are thanks to the wonderful talents of the musicians and the ability of these Royer microphones to capture the natural voices of the flutes.
It was an honor to record the audio and video of this live performance of the Camellia City Flute Choir.”

-Frank Bevans

Poulenc Flute Sonata 1st Movement

Piano – SF-24
Flute – SF-24

Engineer: Tony Faulkner. Producer: Jeremy Hayes.
Recorded in Potton Hall, Westleton, Suffolk, England.

Recording chain: Recorded on a SADiE LRX system using SADiE LXR preamps.

Piano & Flute: SF-24 main microphone. Subsidiary microphones: Rode NT-6 omnidirectionals flanking the SF-24 on stereo bar. Spacing between Rodes, 66cms.

Flute: Guy Eshed
Piano: Tim Horton

“Poulenc Flute Sonata 1st Movement” (Francis Poulenc)

LAGQ

Acoustic Guitar, Classical – R-122V
Flute – R-121

Recorded and mixed by Robert Friedrich
Recorded at Skywalker Sound Studios, San Rafael, CA.

Acoustic Guitar: Four guitars recorded with four R-122V’s. Mics 1 to 2 ft from guitars.
Flute: One R-121 on flute, at 1 ft distance.

Recording chain: All mics fed to AEA TRP mic preamps, then directly to Sonoma DSD recorder (console was bypassed).

“Mas Que Nada” (Spanish Lyric Version – Jorge Ben/Emily Cranz) Peer International Corp. (BMI)