Mujitsu and Tairaku's Shakuhachi BBQ

If you go to this link http://www.shakuhachiforum.com/viewtopic.php?id=3544  ) you'll find out some suggestions.  You might find though that micing technique is as important as the microphone itself.

Few remarks from my own experience. Of course it is different if we are talking about live performance or recording situation. It is very difficult to find a good sound engineer. In about 40 years experience, I can think of 4 of them. Sometimes able to get a good 'live' sound and a good 'live' recording at the same time. About mikes and shakuhachi: I have seen one of these technicians mentioned above talking to me about frequency ranges (when I was talking 'colour' he would answer me talking about frequencies). I can only give testimony refering to time or patience, if you prefer, it takes time and hearing on behalf of the technician. The angle is important, not just the mike. I heard things that did work well like using two mikes: one directed in the direction of the mouth edge, a second one at the level of the bottom of the shakuhachi (tonic). Once I experience also a very good result by having my technician colleague directing the mike (panoramic) behind my head... One thing is sure, if you get a technician getting a rapid result, let say 'clean' result, by using a compressor, forget about it, straight away. Waste of time, desapointing result when you listen to the result later. The harmonics have disappeared. Ban on compressors ! 
There could be more comments, no doubt, but it is an interesting issue, specially for wandering artists like myself, who can find themselves in all sort of situations.
Nada Brahma, Die Welt ist Klang as Ernst Joachim Berhend (R.I.P.) wrote in a book, and told me when we had the chance of working together.

Last edited by Pol Huellou (2011-02-07 12:55:53)