|
|
Post by Vincent R. on May 23, 2022 7:15:47 GMT -6
Most of you know that much of the sound that I go for is the sound of the old Broadway recordings that I fell in love with, which is a style that suits Emily and I so well. I'm not sure how many others here work in this style, but I came across this wonderful website with photos from the recording sessions of a couple of hundred shows. Some of the photo albums are really extensive and include the likes of Dick Van Dyke, Julie Andrews, Robert Goulet, Barbra Streisand, Sergio Franchi and many more. Check it out below: masterworksbroadway.com/photo-galleries/I was really excited to so many Neumann M49s and U67s, with a U47 here or there. It helps reassure myself that the sonic pallet I've really been going for and using these last few years matches that sound in my head. Its also fun to see the transition between the old legit shows with tube mics everywhere to the more modern shows where FET47s and U87s start replacing them. These days most of these recordings are made over at The Power Station and the most common vocal mic you see on these new recordings is a Sennheiser MKH 800. Although, on occasion on a more legit musical you'll see the U67s, U47, and ELA M251 out. Anyway, if this is your thing I hope you enjoy the photos as much as I do. |
|
|
|
Post by drumsound on May 23, 2022 9:07:03 GMT -6
Fun stuff. My folks would always buy the LP of the musical my brother was in each year. I played in the pit, so I don't remember them buying any of those.
|
|
|
|
Post by EmRR on May 23, 2022 9:36:33 GMT -6
Good stuff!
|
|
|
|
Post by tkaitkai on May 23, 2022 9:56:54 GMT -6
This is really cool. I was in a theater magnet in HS — haven't pursued acting in any real capacity since, but I still love plays and musicals. Interesting to see how popular the 47 FET was for this stuff, including for some of my favorites, i.e. Guys and Dolls. Very neat.
|
|
|
|
Post by bossanova on May 23, 2022 10:08:00 GMT -6
I posted a while ago in another thread, but the original cast album documentary for Company is a real treasure, and you can see them using 67's for all the vocals.
|
|
|
|
Post by Vincent R. on May 23, 2022 10:18:28 GMT -6
A number theater channel post videos featuring a behind the scenes look at cast recordings.
Here are a few of my favorites:
|
|
|
|
Post by bossanova on May 23, 2022 16:48:39 GMT -6
One thing I find fascinating is that the performers in the 60s (it looks like a chunk of these were Columbia Studio) were miced relatively close (a foot or so, sometimes farther or even closer) with 67s. Then you get to the 80s and everyone is being miced from several feet away and above with those 47 FETs. I wonder what prompted the change? More of a “stage” sounding capture maybe?
|
|
|
|
Post by aremos on May 23, 2022 17:05:23 GMT -6
Vincent, Did I miss something or there wasn't any "A Chorus Line"?
|
|
|
|
Post by bluegrassdan on May 23, 2022 17:24:22 GMT -6
Cool!
|
|
|
|
Post by bossanova on May 23, 2022 18:05:55 GMT -6
Does anyone know the name of the wood-paneled studio that’s in most of the late 70s to early 90s recordings? It seems like it was the successor to Columbia 30th Street. Attachments:
|
|
|
|
Post by EmRR on May 23, 2022 18:24:52 GMT -6
Does anyone know the name of the wood-paneled studio that’s in most of the late 70s to early 90s recordings? It seems like it was the successor to Columbia 30th Street. I spot Bowie photo's from 1973 labeled 'RCA Studio' that match. Anything with that sort of curved surfaces at the ceiling corner is likely RCA design. Appears to have become BMG and then rented by the IRS for offices. |
|
|
|
Post by EmRR on May 23, 2022 18:39:01 GMT -6
Western Electric 640AA omni condenser, 1949, Columbia.  Altec M11 omni condenser, OUT OF THIS WORLD – ORIGINAL BROADWAY CAST RECORDING 1950  Now this is an interesting mic; RCA ribbon with custom DIY windscreen? 'NEW FACES OF '56'  |
|
|
|
Post by bossanova on May 23, 2022 18:53:17 GMT -6
Does anyone know the name of the wood-paneled studio that’s in most of the late 70s to early 90s recordings? It seems like it was the successor to Columbia 30th Street. I spot Bowie photo's from 1973 labeled 'RCA Studio' that match. Appears to have become BMG and then rented by the IRS for offices. Good catch! And thanks for ID-ing the Western Electric Omni mic. It shows up in the South Pacific sessions and I was wondering what it was. |
|
|
|
Post by sirthought on May 23, 2022 21:22:17 GMT -6
Shouldn't this go in OFF TOPIC?
|
|
|
|
Post by chessparov on May 24, 2022 2:46:51 GMT -6
My vote... Stays!!
Loving it.
Chris
|
|
|
|
Post by Vincent R. on May 24, 2022 8:08:48 GMT -6
Vincent, Did I miss something or there wasn't any "A Chorus Line"? I didn't see A Chorus Line in this gallery. |
|
|
|
Post by Vincent R. on May 24, 2022 8:18:41 GMT -6
One thing I find fascinating is that the performers in the 60s (it looks like a chunk of these were Columbia Studio) were miced relatively close (a foot or so, sometimes farther or even closer) with 67s. Then you get to the 80s and everyone is being miced from several feet away and above with those 47 FETs. I wonder what prompted the change? More of a “stage” sounding capture maybe? That's not what I was seeing. The earlier shows like Camelot, Carousel, and Bye, Bye Birdie have there artists between a foot to 2 feet away, usually depending on how operatic the singer is. You can see John Raitt get a little closer than some of the other performers in Carousel which makes sense, as he was a tenor singing a baritone roll (God I will Hammerstein would have let him take the Bb in his recordings of "Soliloquy"). The newer recordings seem about the same. I do see several images of them recording the ensemble for group numbers. That's where I see mics pulled back to 6ft ish. Unless I'm missing what you're seeing. |
|
