Because I have developed this approach to recording over a number of years, I often get asked the same kinds of questions. Below is a series of FAQs about my approach, my equipment, and how all of this works in the context of your project. Feel free to reach out to me if your question is not answered here.
What is an OCCO array?
An OCCO array is made up of four microphones on a single stereo bar, usually suspended in the air above and in front of the performers. The acronym OCCO is derived from the order of these microphones on the bar: two omnidirectional microphones on each end of the bar, and two cardioid microphones in the center of the bar. The omnidirectional microphones capture 360 degrees of sound in the performance space, while the cardioid microphones have a heart-shaped pattern that collects sound from the performers and rejects the sound from the back of the room facing the audience. Combined, this array provides a very flexible balance between narrow/focused capture from the cardioids and the larger more reverberant capture from the omnis. Using pairs of microphones allows for a stereo capture, simulating the experience of what a listener hears with two ears.
What kinds of microphones do you use?
I use a variety of professional but reasonably priced condenser microphones in my recording rig. The OCCO array is made up of small diaphragm condenser (SDC) or “pencil” microphones. The omnidirectional pair is fitted with 40mm APE spheres; the cardioids are placed in NOS or ORTF orientation. For piano mics, I have created a pair of internally-mounted stands that attach directly to the plate with neodymium magnets. For spot microphones, I use large diaphragm condenser (LDC) microphones on shock-mounted stands, as the stands are often very close to the performers (all mics and stands on stage are flat black in color). Results from these microphones can be heard on the DEMO page.
What other equipment will you bring to the venue?
All of my gear fits into a set of rolling tool boxes that lock together. I can easily get all of my equipment into the venue in a single trip by myself. Artists and family members often offer to help with this, which is appreciated by not necessary. The setup and teardown of my equipment needs to happen in a very specific way, so it’s best that I do it all myself. During setup, artists are usually getting ready for the performance; the customary post-performance reception is the perfect time for me to tear down my equipment and pack it all up. This process usually takes more than an hour for setup, and about 30 minutes for teardown. I actually find this part of the recording process enjoyable.
Where will you be operating your equipment during the performance?
For chamber music, I usually prefer to sit with the audience during the performance if that is permitted. My actual recorder is about the size of a library book, so I can usually find a spot where I am not in the way of the audience. During the performance, I need to monitor a number of technical aspects of the recording with meters and headphones. I also like to take my headphones off and hear what the performance actually sounds like to the audience, as my goal is to create a final recording that approximates the ideal “best seat in the house” for the music. It is possible for me to locate my recorder and equipment backstage if that is preferred. The number of attendees and lack of formality at academic performances usually make it no problem for me to sit somewhere in the audience.
Why don’t you charge for your services?
Recording is a hobby for me. I have a demanding and complex “day job,” and making recordings is a great way for me to listen, learn, and have fun. Charging for this activity would make it more like work and introduce unnecessary stress. I am also sensitive to the fact that my “clients” are students on a fixed budget (or sometimes no budget). Finally, I am impressed by the number of music students who are studying audio engineering, and I do not want to interfere with their ability to supplement their income. For these reasons, I won’t take your money for recording your project. In some cases, I might ask you to make a small donation to the Foundation of my employer, Lansing Community College. Some artists really want to pay for my service, and I respect that. I also have found that people value what they pay for; making a charitable contribution is a great way to underscore this.
What is the best way to communicate with you and “book” your services?
I am happy to talk about potential projects on the telephone, and I routinely read and respond to SMS texts at the same number. For more detailed or technical aspects of a project, my Gmail account is best. In addition to being a record of our discussions about the project, that email account is linked directly to the Google Drive folders I will use to share your completed files. Regarding actual booking, please note that my calendar is quite full, and there are many projects I may not be able to accept due to work commitments and travel. I am very disciplined about my calendar, and if we make arrangements for me to record your project, I will formally let you know that it is “on my calendar” and you can count on me to show up. But please understand that there are many projects that may not fit with my busy schedule. Again, this is my hobby, not my job.
Can I listen to some samples of your recordings?
Because I consider my recordings to be the property of the artists who ask for my help, I do not share completed files in a public manner. I do reserve the right to share small selections without attribution in recording forums and for potential collaborators. This allows me to get feedback from other engineers and improve. I also enjoy sharing some of the techniques I have developed for others who may wish to record academic chamber music. Samples of some recent recordings I have made can be auditioned in these very brief clips on the DEMO page of this site. I ask that these files not be distributed or shared.