This is a typical kit that we'd take into the field for 2-track recording work. It's a Great River preamplifier, which is the most tonally neutral preamp I have found which still has excellent noise rejection, driving a Prism AD-124 analog to digital converter. The primary recorder shown here is an inexpensive Tascam DA-20 DAT recorder with a DA P-20 being used as a backup. The NHT monitor speakers are being driven by a Nelson Pass amplifier design that has been built into the chassis of an old Crown D-60 amp (and which uses the Crown D-60 power supply).
This kit, along with a small set of microphones, is our primary tool for classical recording work.
We also have facilities for four and eight track field recording work, as necessary for music festivals and concerts where the PA system plays an important part in the overall sound.
In a perfect room in a perfect world, an overall microphone pair is sufficient to give perfect balances, but sadly we do not live in such a world. When acoustics are deficient and setup is limited, often the expedient of adding spot microphones to individual solo instruments is needed. This is also the case when there is a PA system involved which is altering balances in the room.
Spot microphones give a very different sound than that of the instrument at a distance. Not only is there no room sound, but the dynamics of the instrument are exaggerated. For some instruments that radiate many different sounds in different directions, a spot mike can get only part of the sound at best. Spotmikes can help a lot in a bad situation but very careful attention needs to be taken to make the spotted instrument sound like is is part of the ensemble.Last updated 30 Aug. 2015 Scott Dorsey (kludge @ panix.com) 757-229-1547