Recording a choir

A choir is a wide, deep source made of many voices, so most of the recording choices are about getting a blend: the voice parts together, in a good room, at a believable distance.

Layout

A typical choir of four parts stands in rows, with the voice parts side by side: soprano and alto to one side, tenor and bass on the other, or sections arranged by a conductor's preference. The width at the front can reach 6 to 10 m for a large choir. Because voices spread across the rows, a single pair of microphones has to cover both width and depth.

The main pair

• Height. Place it above the conductor's head, 3 to 4 m above the floor, so that the microphones see over the first row and hear the back rows.
• Distance. Often 3 to 5 m from the front row, depending on the hall.
• Type. An AB, ORTF or Decca arrangement, depending on how much room sound you want and how much stereo definition.

A rough check is that the choir should cover about the recording angle of the pair. For example, a choir 8 m wide at 4 m distance covers 90°, which suits an ORTF-style pair with a recording angle in that region. Use the orchestra and ensemble angle tool for the arithmetic.

Adding support

• Outriggers, a spaced pair left and right of the choir, widen the image and add the sides.
• Section microphones, when the balance needs help, add detail to quieter parts. Keep their level low and delay them to the main pair, see Spot microphones.
• Ambience microphones at the back of the hall can add depth, but they delay the recording by the travel time.

Balance

In a choir the balance between voice parts is mostly the conductor's job. A recording engineer can adjust the room only. Rehearse and listen from the main pair position.

Problems to watch

1. Too close. A close main pair exaggerates the nearest singers and loses the blend.
2. Too far. The room dominates, consonants get lost and the voices sound distant.
3. Early reflections. Floor and ceiling reflections can colour the sound. A higher microphone position reduces the floor reflection.
4. Breathing and noise. Singers rehearse silently but move; check rustling and stage noises.

Stereo choices

• Spaced omnis capture the voices as a smooth mass with the room.
• Cardioid pairs reduce the room and keep the choir more focused.
• Mid/side recordings give flexibility in the mix for the width, see Mid/side stereo.

Draft: written by an AI assistant, awaiting technical review.