The ORTF technique works wonderfully on all of these ensembles. The hall the ensemble is recording in is an important factor in determining which type of microphones to use. For Example: A bright microphone in a bright hall can sound shrill, however a bright microphone in a dull or dark hall may add sparkle and life to a recording.

We prefer to stereo mic a choir using ORTF and set up spot microphones on any additional instruments or soloists. The main stereo microphones should be placed so the microphones are approximately 8 - 10 feet high and angled down toward the center riser row. If the choir is very large 2 omni microphone outriggers will help to capture a good representation of the choir. A stereo pair of microphones should be used on the piano (if a piano is used).

Although the choir may be singing classical music, we recommend a rock n' roll piano microphone technique as apposed to classical piano technique. The piano will be somewhat present on the ORTF choir microphones (how close the piano is to the microphone setup will determine how much leakage will occur). The piano on the choir ORTF pair will be somewhat muddy and undefined, but will capture the spaciousness desired for classical music. A close microphone technique on the piano can add definition and clarity - when mixed with the ORTF pair a beautiful piano sound will result. Be careful that the blend of choir to piano on the ORTF pair favors the choir. The spot microphones on the piano will obviously boost the piano level - thus cannot be used if there is already too much piano in the mix.

Depending on the group, and music being performed, determines whether a stereo microphone technique or individual microphones on each voice would be the best recording technique. We will often use a combination of both techniques to give the spaciousness of a stereo pair, but also retain ultimate control of each voice.

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