Я участвовал в такой записи. Было два микрофона Зинхайзеры и еще один навороченый строго посередине- все конденсаторные
Рассадка- полукругом, так, как привыкли. Больше всего проблем было с тубой- сначала бросились направлять на нее один микрофон, но потом отказались. Манипуляции с 2-мя микрофонами= общий съем. Делалось на сцене. К сожалению, у меня не сохранилось записи. Но результат был- вполне.
Нашел вот:
технология, применяемая в американском отделении Naim. Пишут живую музыку на акустических инструментах и вокал в какой-то церкви с хорошим акустическим пространством. Запись ведётся на пару микрофонов AKG-414EB и с них на аналоговый магнитофон Nagra IV-S. Никакой коррекции записи не проводится. Звукорежиссёр располагает музыкантов относительно микрофонов, добиваясь оптимального баланса инструментов, выставляет требуемый уровень записи - всё. Больше, говорят, никакого вмешательства в запись не проводится. Далее сразу на мастеринг CD/винила.
Более подробно здесь:
http://www.thenaimlabel.co.uk/true_stereo.htm
И еще не рекомендуют каждый инструмент снимать отдельно:
Spot mics on each instrument are useful in that you could re-balance the mix after the event - to some degree at least. But you're right in thinking that, with care, you should be able to get a very usable result with a stereo pair in which ever configuration you decide to go with.
The key will be in balancing the instruments against each other and the only realistic way of doing that is either by adjusting the seating positions and distances from the mics, or adjusting the dynamics on the sheet music. I would suggest that the former will be sufficient, provided they can all see each other and the conductor/leader, and you shouldn't have to move them around too much, seeing as they are all brass instruments and there aren't many of them.
Personally I would place the Tuba centre-back - they are often better 'felt' rather than heard too loudly. Although you might pan double basses and cellos in an orchestra to their usual stage positions on the right, bass instruments are generally happier in the centre of a mix were they won't create phase issues in a mono mix, or create a lop-sided stereo image with too much weight on one side.
I doubt if the French horn will present too many problems in a typically reflective space. You could always ramp a piece of hardboard up behind him/her if you feel that more reflected sound would make a difference to the balance.
Make sure you record in a decent sounding room as well, as that will be your source of reverb. The distance from the instruments is also crucial, not for adjusting levels but for adjusting the balance of reverb versus direct sound - again you won't have any second chances if you are recording in stereo, though you could err on the side of less reverb as you can always add a splash more in post.
On the other hand, if the room sounds dull and lifeless, or just too 'roomy', mic the ensemble closer in the hope that you can cut out as much of the room reflections as possible and add a better sounding reverb at the mix stage. In this instance, be careful that the stereo image doesn't become too wide.
Ideally, you would want a separate monitoring room with decent speakers and good seperation from the performance area. But I guess this is also unlikely, so your best investment will be a good pair of closed headphones. Move the mics around for the best mix and then adjust your recording levels for a safe, clean recording.
If I was doing this on the cheap, I would take my stereo pair of Oktava pencil mics and either record direct to DAT, a camera with XLR inputs, or to recording software on a laptop. If you can record in 24bit, so much the better as you can preserve more headroom without losing too much quality. A Zoom H4 would even make a good attempt at this, especially when fed with external mics.
Just make sure you are on your game on the day and listening intently to everything that's going on. Get a rehearsal in if you can too. That will settle the nerves and allow you to run careful tests and check the results in the comfort of your studio before the big day.
http://www.soundonsound.com/sos/jan99/articles/brass778.htm
