How to easily record classical music
by Eduardo Patricio
Earlier this year (2019), during Easter, we recorded a string quintet concert* with 2 ZM-1 microphones. One in front of the ensemble and 1 behind it. Very simple and portable setup with powerful postproduction possibilities!
Here’s a quick example of the multi-track possibilities we have from the recordings:
How we did it
Using ZM-1 microphones basically allows you to have multi-track recordings from single mics.
Here’s what we did for this project in 5 steps.
1. We recorded the 19 channels from each ZM-1 directly onto DAW tracks on each laptop. The result was 2 uncompressed, 24-bit, 48KHz wave files.
Resulting multi-channel audio file being played back in Reaper.
2. After the recording, we loaded both multi-channel files onto a single DAW session, onto separate tracks. We synchronized the files manually using a clear transient sound (the classic "clap to sync").
Two 19-channel audio files on 2 DAW tracks.
3. We added ZYLIA Studio PRO plugin to the tracks containing the multi-channel files (one instance of the plugin for each). The plugin converts the recorded information into perfect sound spheres, from which you can extract sounds from any direction.
ZYLIA Studio PRO plugin interface before adding any virtual microphones.
4. We added virtual microphones, by clicking on the plus sign in the middle of the circle and defined their direction (in the horizontal and vertical planes) and polar patterns (width). Obs.: That means we basically set up a complex microphone arrangement after the recording, and one that can be tweaked or changed at any moment (!).
NOTE: If you don’t know yet how to work with virtual microphones and ZYLIA Studio PRO, you can check the following additional resources:
4A. From the main microphone recordings, 7 virtual microphones were used as seen in the following screen capture:
ZYLIA Studio PRO with 7 virtual microphones in place.
The virtual microphones Z1 – Z5 were narrow (shotgun-like) ones, pointing at each instrument and using S2 separation mode.
Z6 and Z7 form a wide stereo pair, pointing 45˚ up, to capture some of the overall sound and a great deal of reverberant sound.
4B. From the rear microphone recordings, 5 virtual microphones were used as seen in the following screen capture:
ZYLIA Studio PRO with 5 virtual microphones in place.
Detailed configuration of each virtual microphone:
Z1: 0˚ azimuth, 33˚ elevation, 60˚ width;
Z2 and Z5 form a stereo pair with a sum of 90˚ azimuth, pointing up (-45˚ elevation), and with 60˚ width;
Z3 and Z4 form a stereo pair with a sum of 80˚ azimuth, pointing down (-51˚ elevation), and with 60˚ width.
5. We directed each virtual microphone to individual tracks in our DAW and carried on with a regular basic mixing strategy (leveling, panning and EQing).
Section of DAW showing the tracks receiving signals from virtual microphones Z1-Z5 (Main ZM-1 microphone).
To sum up