Reprocessed Stereo (with example)
 

On 25/01/2017 14:16, Dave Plowman (News) wrote:
In article ,
Graeme Wall wrote:
I remember as a very junior erk rigging, IIRC, C28s on stands for
violins for things like Top of the Pops. Usually one mic between a pair
of instruments.

Big snag with a pop orch in TV is that to actually have a chance of
hearing the fiddles above the rest is they have to be very tight mic'd.

Since you mention TOTP, the wonderful Dick Chamberlain was one of the
first to use personal mics for this - in those days BK6, worn round the
neck by the fiddle players. When the much smaller (and higher quality) ECM
50 arrived, it became possible to mount those on the instrument itself.

Microphones on ToTP? For the presenter and the applause only!

--
Eiron.

Reprocessed Stereo (with example)
 

On 25/01/2017 13:41, Iain Churches wrote:
"Graeme Wall" wrote in message
...
On 24/01/2017 19:28, Iain Churches wrote:
"Graeme Wall" wrote in message
...
On 24/01/2017 18:42, Iain Churches wrote:
"Graeme Wall" wrote in message
...
On 24/01/2017 17:05, Iain Churches wrote:
Blue Tak seems to have been a standard mounting
accessory exclusive to TV music shows. Nowhere else.
String players talked about it often, and aparently told
TV sound assistants "not to stick that muck on my
instrument" So did their violins remain without a
mic? "Call, the sound supervisor!. This clown has
stuck a lump of goo onto my £250,000 Amati"

After 40 plus years in broadcasting, admittedly as a cameraman, I
can't
recall ever seeing bluetak being used to attach microphones to
anything,
never mind musical instruments.


Musicians have a very special humour.
String players used to say. "I've been at
the TV centre all day. It's nice to come
to a studio where they have proper mic stands"
Everyone knew what they meant!


Regrettably everyone doesn't include me.

Musicians were quite disgruntled.
Classsical sessions were it seems OK, but some
players did not want to play on light music TV
sessions.

https://www.thomann.de/gb/schertler_...phone_367883_2


Obviously long after my time :-)

I remember as a very junior erk rigging, IIRC, C28s on stands for violins
for things like Top of the Pops. Usually one mic between a pair of
instruments.

Yes. It seems that the directors and camera crews

Camera crews don't get consulted about such things! (he said with feeling)

complained about the size of the mics, even pencils like
the C28. Preferred string mics such as the 87 or
49 are much larger. It may have been to do with
just their physical size, or because they caused
lens flare. Mics with matt black bodies were not
so common then.

D202 comes to mind.


The "stick-ons" were a topic of conversation
for quite a while. I am told that the practice
came to an end when the orchestral contactor
took it up with the MU.

Halcyon days:-)

Iain





--
Graeme Wall
This account not read.

Reprocessed Stereo (with example)
 

In article ,
Eiron wrote:
On 25/01/2017 14:16, Dave Plowman (News) wrote:
In article ,
Graeme Wall wrote:
I remember as a very junior erk rigging, IIRC, C28s on stands for
violins for things like Top of the Pops. Usually one mic between a
pair of instruments.

Big snag with a pop orch in TV is that to actually have a chance of
hearing the fiddles above the rest is they have to be very tight mic'd.

Since you mention TOTP, the wonderful Dick Chamberlain was one of the
first to use personal mics for this - in those days BK6, worn round
the neck by the fiddle players. When the much smaller (and higher
quality) ECM 50 arrived, it became possible to mount those on the
instrument itself.

Microphones on ToTP? For the presenter and the applause only!

Heh heh.

It went from miming to records, to totally live performance, then on to
backing tracks with live singists and back to miming. ;-) All in the few
years I worked on it. Long before it moved to Elstree.

Of course very few pop records these days could be performed 'live' anyway.

--
*Forget the Joneses, I keep us up with the Simpsons.

Dave Plowman London SW
To e-mail, change noise into sound.

Reprocessed Stereo (with example)
 

On 25/01/2017 14:45, Eiron wrote:
On 25/01/2017 14:16, Dave Plowman (News) wrote:
In article ,
Graeme Wall wrote:
I remember as a very junior erk rigging, IIRC, C28s on stands for
violins for things like Top of the Pops. Usually one mic between a pair
of instruments.

Big snag with a pop orch in TV is that to actually have a chance of
hearing the fiddles above the rest is they have to be very tight mic'd.

Since you mention TOTP, the wonderful Dick Chamberlain was one of the
first to use personal mics for this - in those days BK6, worn round the
neck by the fiddle players. When the much smaller (and higher quality)
ECM
50 arrived, it became possible to mount those on the instrument itself.

Microphones on ToTP? For the presenter and the applause only!


How wrong you are. The TOTP mic rig. was was quite a work up and
involved about eight different types of mic. Admittedly in the late 60s
early 70s, I went on to cameras then after hitting Magnus Magnussen over
the head with a 4038 on the boom.

--
Graeme Wall
This account not read.

Reprocessed Stereo (with example)
 

On Wed, 25 Jan 2017 15:28:02 +0000, Graeme Wall
wrote:

On 25/01/2017 14:45, Eiron wrote:
On 25/01/2017 14:16, Dave Plowman (News) wrote:
In article ,
Graeme Wall wrote:
I remember as a very junior erk rigging, IIRC, C28s on stands for
violins for things like Top of the Pops. Usually one mic between a pair
of instruments.

Big snag with a pop orch in TV is that to actually have a chance of
hearing the fiddles above the rest is they have to be very tight mic'd.

Since you mention TOTP, the wonderful Dick Chamberlain was one of the
first to use personal mics for this - in those days BK6, worn round the
neck by the fiddle players. When the much smaller (and higher quality)
ECM
50 arrived, it became possible to mount those on the instrument itself.

Microphones on ToTP? For the presenter and the applause only!


How wrong you are. The TOTP mic rig. was was quite a work up and
involved about eight different types of mic. Admittedly in the late 60s
early 70s, I went on to cameras then after hitting Magnus Magnussen over
the head with a 4038 on the boom.

Boom ops always get it in the neck. I remember one who got fired cos
he attached a piece of holly to the end for a Christmas recording.

d

Reprocessed Stereo (with example)
 

"Graeme Wall" wrote in message
...

I went on to cameras then after hitting Magnus Magnussen over the head
with a 4038 on the boom.

It's supposed to go the other way.
Camera crew are demoted to sound.
And sound crew to drivers:-))


Iain

Reprocessed Stereo (with example)
 

In article ,
Graeme Wall wrote:
Microphones on ToTP? For the presenter and the applause only!


How wrong you are. The TOTP mic rig. was was quite a work up and
involved about eight different types of mic. Admittedly in the late 60s
early 70s, I went on to cameras then after hitting Magnus Magnussen over
the head with a 4038 on the boom.

Or a 4033, even. ;-)

I enjoyed my stint on cameras. Remember vividly swinging Frank Wilkins on
a Mole on TW3. Bloody hard work for the closing shot.

--
*Virtual reality is its own reward*

Dave Plowman London SW
To e-mail, change noise into sound.

Reprocessed Stereo (with example)
 

"Dave Plowman (News)" wrote in message
...

It went from miming to records, to totally live performance, then on to
backing tracks with live singists and back to miming. ;-) All in the few
years I worked on it.

What was your role on TOTP ?

Iain

Reprocessed Stereo (with example)
 

"Dave Plowman (News)" wrote in message
...

Big snag with a pop orch in TV is that to actually have a chance of
hearing the fiddles above the rest is they have to be very tight mic'd.

Why do you call them fiddles?. They are violins.

A violin needs air. "Tight" mics (your term) sound awful
on strings They need air and lots of it. You would have been
better off with a Mellotron:-)

Iain

Reprocessed Stereo (with example)
 

On 25/01/2017 16:58, Iain Churches wrote:
"Graeme Wall" wrote in message
...

I went on to cameras then after hitting Magnus Magnussen over the head
with a 4038 on the boom.

It's supposed to go the other way.
Camera crew are demoted to sound.
And sound crew to drivers:-))


I was always a rebel :-)



--
Graeme Wall
This account not read.