I'm being tasked with the recording of a classical orchestra, live off the show. For me, the most logical way to do so is to record a stereo signal. Period. I am considering using my Zoom H6 recorder. The two stereo condensers for the front of house sound, maybe two small paired condersers closer to the stage for a more focused sound, at 3-5x distance from the Zoom mics, and another two pointing at the audience, at 3-5x distance from the recorder as well. I sense that can give me a great overall sound of the show that I can then tweak for the best results possible. I might even take my laptop, a portable interface, and another mic for singers or a piano solo section.

Do you think it's a good plan or do you think I'm in for trouble in your experience?

Thanks in advance for your input.

 

Hello Brother, it's been a minute.

I suggest asking about this over at https://realgearonline.com/ . There are some folks over there that will surely have great advice based on years of experience. It's a fantastic forum and is very friendly.

 

Depending on size, you could use a Stereo Ambient + Deca Tree..

For Orchestra that would be the minimum,
and then work each section separately.. Strings, Winds, Choir, Brass,
each part must have its own treatment or you wont hear the Details and solo parts clearly..

Percs can be left a bit more loose depending on style/piece as they will fill the room anyway..

 

Sounds like a plan. Zoom H6 mic pre's sound pretty good, although I'm not a fan of built in mics in general (but I haven't actually tried the H6's).
I would probably use those for audience reaction (as it's the least important part of your recording). Turn the Zoom around, you can even put it on a tripod, a little higher up.
Then use 2 condensers in A-B stereo on a tripod at 2,5 mtrs up behind the director. Extra mics could be put in front of instruments that are important, but tend to drown in the A-B recording.

 

I have an H6 and would never use it for a critical orchestral recording as the noise floor will without a doubt compromise the quieter passages of the performance.

 

I would mix myself in far forward among the audience and record the concert from there.
That way, you get almost exactly what the listener hears.

If you want to record a concert like professionals, you need a trained sound engineer, 24 tracks, with all their
equipment and numerous microphones—one or two for each musical group, at least one for strings, flutes, etc.!

 

I think the safest would be Decca Tree (with optional two omni to extend the strings sections)

If you want to keep it simple with just one stereo mic:AB for good rooms and NOS (wider) or ORTF for more reverberant rooms.

Using too mics sometimes is a problem and causes phase issues.

If you want to go in depth check these documents

https://www.gracedesign.com/support/StereoZoom10.pdf
https://sengpielaudio.com/VergleichAequivalenzMikrofonSyst.pdf (in german)

Positions and mics configuration depends a lot on the size of the ensemble, critical distance, if the room has too much reverberation or not etc...

If the room has bad acoustics: the critical distance is short (less than 3 meters). You are forced to use Cardioids (ORTF/NOS)

if the room has great acoustics: RT up to 1.2-1.5 s the critical distance is far back (up to 5-6 meters) You should use Omnis (Decca Tree) or AB

 

Alright, it's not a Sonosax or Nagra, but it sounds decent, and there's pretty good subtle noise reduction these days.
Besides, that orchestra Mercury get's the chance to record is also not aiming for top notch quality (no offence).