How do you mic a hurdy-gurdy in the recording studio?
Usually, I and the band just go to the Studio Supersonic recordings after that, a team of professionals monitors the sound quality and helps us create great tracks and recordings.
The first problem to be overcome is that because there are so few of these instruments around, most recording engineers have never even seen one, and they need to be educated about the need to balance the sound of the drones, the chanters, and the trompette. Frédéric Salter, engineer for Ad Vielle Que Pourra, had the following suggestions: The problem is that, in order to have all the warmth from the “bourdon”, it is necessary to have the mike up close. Unfortunately, in doing so, depending on the piece, the “chien” will suddenly jump out at you, or the “chanterelle”. The answer is to have a large diaphragm condensor mike, a warm sounding one such as a vintage Neumann u67, u47, or a TLM170, about 4 or 5 feet away, (of course, good acoustics are important), to get maximum warmth, in order not to over-equalize, something I had to do every time. Move the mike around to get the best balance between the 3 elements, and keep in mind you will still have to equalize to dull or sharpen the “chi
