Spot Mics, Ex. G, Full Section of Violins — rear desk leading

TOR / ODESSA Montreal / Subject 1 / Anatomy of a Mix / Spot Mics / Example G

This recording contains all four spot microphones (each aimed at an individual stand of players) that now capture the sound of the entire violin section. This is the fullest version of a violin section that can be captured by spot microphones, and each microphone was panned to the approximate position it would be in the orchestra, which gives a reasonable impression of instrument localization within the space. Some room reflections can be heard, however the recording does not contain as much room information as the Decca system below. It should be noted that, for comparison purposes, all system submixes have been loudness matched across excerpts, however Subject 4G was measurably quieter than 4F. A possible explanation could be that players were reacting to the atypical instruction to listen to back of the section rather than the front.

Similar to the excerpt above where the contact microphones are source panned in stereo, this excerpt features the four first violin spot microphones panned in a manner that is more frequently used in pop recording. The spot for the rearmost stand (which is leading the section) has been placed in the center while the other three spots have been panned to the left and the right. This panning metaphor gives the listener another way to experience the section and highlights slight performance differences that are not as clear in the typical arrangement. Additionally, this exceprt can be compared with its companion in S4F, as the energetic spread of the instruments in the stereo image is noticeably less cohesive.