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Spitfire BBC Symphony Orchestra Professional: Microphone positions
This posts lists the microphone positions of the Spitfire BBC Symphony Orchestra Professional (BBCSO), the BBCSO Piano, and other Spitfire audio libraries. See also [here] for the original documentation.
Symphony Orchestra
The BBC Symphony Orchestra library gives you 20 different microphone signals to use, giving you full control over the sound you want. This article will explain a little bit about each signal as well as some tips from engineer Jake Jackson on how to use them in context.
Alternative view (from Paul Smith):
MONO
An old fashioned microphone for an old fashioned sound! Positioned behind the conductors head for a close to realistic mono pickup.
LEADER
A condenser microphone placed close to the leader of the section. Not used in a typical mix, though very useful when wanting to make the section sound smaller.
DECCA TREE
Three omnidirectional microphones placed in the traditional Decca Tree arrangement, situated high above the conductors head. These give a strong representation of the hall, whilst maintaining instrument focus. Often considered the start point of any mix.
OUTRIGGERS
Two omnidirectional microphones placed midway between the orchestra at the same line as the Decca Tree. These add great natural width, and should be used in combination with the Tree to add space to your mix.
AMBIENT
Two omnidirectional microphones placed towards the rear of the room, higher than the Outriggers resulting in a nice room ambience. Great for use in a 5.1 surround mix, or to add more space to a stereo mix.
BALCONY
Two omnidirectional microphones placed at the very rear of the hall, high up in the balcony. Also great in a 5.1 surround mix, or for a huge amount of space in a stereo mix. About as much ambience as you can get!
STEREO SECTION
Two Coles 4038 microphones placed in a stereo arrangement, close to the musicians at head height. Use as a very nice pickup if you want a closer sound but with a different vibe. Great for use on a Solo Instrument with some Tree or Ambient, but use with caution on multiple instruments as they will be panned the same!
MIDS
A stereo pair placed above the Brass, Woodwind and Percussion sections. These are used as a mid pickup between the Close and Tree microphones. These are great in most mixes, and are a great balance between close and roomy.
SIDES
Two omnidirectional microphones placed on the very edge of the Orchestra, in the same line as the Decca Tree and Outriggers. Great for use in a Dolby Atmos mix, or in 5.1 to add some extreme width.
ATMOS FRONT
Two omnidirectional microphones placed high above the Orchestra at the front. Use these to add height to a Dolby Atmos mix, at the front of the mix.
ATMOS REAR
Two omnidirectional microphones placed high above the Orchestra at the rear. Use these to add height to a Dolby Atmos mix, at the rear of the mix.
CLOSE WIDE
The section close microphones. These are panned across the stereo image with as much separation as possible, to allow the most control so that the signal can be moved easily.
The Close Wide microphones allow you to have full control over the close signals. These are intentionally panned across the stereo image with as much separation as possible, allowing full control in moving the signal easily. The occupied space in the stereo field will vary depending on how many close microphones are used:
- One microphone used (eg. Solo Flute) will be central.
- Two microphones used (eg. Horns) will be both hard left and hard right. 1L, 2R.
- Three microphones used (eg. Flutes a3) will occupy the entire space. 1L, 2C, 3R.
With a stereo panner (not a balance panner!) you can narrow and move the signal wherever you like with ease. This is great for use in pop!
See [here] for the difference between panning and balancing.
CLOSE
The standard close microphones per section, positioned naturally in situ for the best close sound. Use these with your room mics for part of your base sound.
SPILL
We have 5 spill (or ‘bleed’) signals available, which can act as glue in Orchestral context. These will add extra width and natural ‘space’ from the unused microphones. The spill signals are available to dial in on a per section basis, or as a ‘full mix’. For example, a Solo Horn dialling in some of the ‘Sp. Str’ will mean that the close mics from the String section will be added to the mix. Whereas for ‘Sp. Full’, every single close mic from the entire Orchestra will be added.
MIX 1
Jake Jackson’s mix, which is a balance of commonly used microphone positions. A great starting point! This is specifically a mix of the Decca Tree, Outriggers, Ambient, Balcony, Mids (not on the Strings!), and Close signals.
MIX 2
Jake Jackson’s second mix, which is a bit more ‘hyped’ in sound, with some added Compression, EQ, and Reverb. This is specifically a mix of the Decca Tree, Outriggers, Ambient, Balcony, Sides, Atmos Front, Stereo, Mids and Close signals. Neither of Jake’s mixes use the Spill signals, so these can be dialled in as bonus!
See also the BBC Symphony Orchestra microphone signals walkthrough video:
Piano (Steinway Model D grand)
The BBCSO Piano faithfully captures the live concert sound of a pristine Steinway Model D grand, at the iconic home of the BBC Symphony Orchestra, Maida Vale Studios.
Tree
Situated above the conductor’s head, this gives a great representation of the sound.
Outriggers
A wide set of omnidirectional microphones, designed to be used in conjunction with the Tree to add width
Ambients
High above the orchestra near the back of the room, these microphones add the most reverberant sound of the room
Mono
Traditionally what the BBC used to record the orchestra, a single ribbon microphone above the conductor’s head
Piano Hammers
A set of condenser mics placed directly above the piano hammers for a tight, percussive sound
Piano Ribbons
A set of ribbon mics positioned fairly closely to the strings.
Piano Mids
A stereo pair at a medium distance from the piano.
Piano Far
A stereo pair at a further distance from the piano.
Sides
Super wide omnidirectional microphones. Ideal for adding a unique level of width or for adding into an Atmos mix
Balcony
As far away from the instrument as possible, these are right at the back on the viewing balcony of the studio
Atmos Front
A stereo submix specifically for use within the front of a Dolby Atmos mix
Atmos Rear
A stereo submix specifically for use within the rear of a Dolby Atmos mix
Spill All
A combination of other section mics covering the rest of the orchestra, use to add an element of realism to the mix
EPIC Strings
Room
A combination of Tree, Ambient, and Outrigger mics (the default setting).
Close
Add definition to the Room signal.
Stretch
A stretched version of the Room, creating an ambient, synth-like texture.
Intimate Strings
Close
A trio of valve microphones placed close to the hammers for detail and intimacy.
Tree
To keep things intimate.
Vintage
Tape saturation, subtle spring reverb & EQ allowing users to add old-school colour to their string arrangements.
EPIC Choir
Close
Valve spot mics summed together for a direct and upfront image of the string ensemble.
Tree
A decca tree microphone array, giving a spacious and enveloping sound.
Ethereal
A treated signal (saturation, reverb, EQ) which adds texture, brightness and width to the vocals, while retaining an organic feel
