Location recording of classical music is an exacting art, requiring specialist experience and a mind-set different to that found in a typical recording studio. To begin with, location engineers don't 'mix' tracks - they balance; and the very best do this using a minimum number of carefully chosen and placed microphones.

To the inexperienced client, a vast array of microphones might look impressive; but it isn't necessarily going to sound impressive. This is because multiple signal paths and ‘bleed’ invariably introduce deleterious phase shifts which cannot be fully compensated for - multi-mic recording is always a compromise.

MRC’s approach to location recording combines theoretical knowledge of acoustics with fine equipment, and a pragmatism borne from mentorship by one of the greatest classical balance engineers of our time - Allen Stagg.

We can record in any indoor venue with an A/C mains supply and can adapt layouts to suit. These may be as simple as a single microphone pair from a flight-case to a fully-kitted control room with multiple lines, fold-back, producer's workstation and red-light signalling system.

Our K&M booms reach 30ft and we typically carry 500m of Van Damme LOC/Neutrik cabling. Microphones are by AKG, Audio-Technica, Coles, DPA, Neumann, Sennheiser & Schoeps; with preamps by API and Focusrite. Nearfield monitoring is by B&W and PMC/Bryston. Sampling rates up to 192kHz with word lengths up to 32bit floating point are offered.

When estimating the number of location sessions needed please remember it typically takes 2hrs to establish a full rig and control room and 1hr to pack away. A rough, but useful rule of thumb is 3hrs of red-light time for every 20mins of mastered audio.