Deanna Skiles Audio Production
Johann Sebastian Bach “Sonata No. 2 in E-flat Major Mvmt. 2: Siciliano”
Editing Engineer
Summary This session was split between myself and another student, both using the talent, Anne Reid, and her flute for our separate projects. I used an omni microphone for room tone, and closemiked (~3ft) the flautist using a matched pair of multipattern capacitor microphones, applying the midside method. The piece that Mrs. Reid played for me is the second movement of Bach’s Sonate II for Flute and Piano – a threemovement work that I performed for my scholarship jury (back when I was an instrumental music education major.)
Talent Materials Anne Reid’s Equipment • Azumi AZ3 Flute o Sterling silver body and Altus headjoint o French silver-plated keys with pointed arms o Modified springs (white gold, not stainless steel) o Altus/Bennett scale o Offset G o B-flat footjoint
Mixing Notes I am used to a gold-plated lip-plate/chimney in the headjoint, which gives the flute’s sound a warmer colour. However, Mrs. Reid’s instrument’s headjoint is all 925 silver. That said, I didn’t do much EQ-ing other than attenuating the mid/high ranges conservatively to bring out the richness of her tone I duplicated and then inverted the bipolar mic’s track of the mid-side setup, then panned it right, moving the original left. Originally I had them up at unity, with the cardioid “mid” microphone at -12dB, but I liked its colour so much I reversed this order and added a mild reverb to smooth out the cardioid. The mid-side tracks are volume automated as a group to reflect the musical/emotional interpretation of the piece, but the omni microphone stays at the same level. I also applied some time processors to the track to give the flute some space to sing.
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