ABSTRACT
Concertos for soloist and orchestra form a wide-ranging and well-loved repertoire, and the goal is appropriate perspective, presenting the soloist just in front of the orchestra but not separate from it. The act of recording an orchestra and soloist brings together techniques from orchestral recording (Chapters 7 and 8) and recording a solo instrument (Chapter 3). The most common solo instruments are included; placing soloist microphones for the piano concerto is explored in concert and studio layouts, as well as piano positions for the double concerto and the concerto conducted from the keyboard. Violin, cello, wind, and brass concertos are examined, and different approaches to microphone choice and placement are tailored to the instrument and situation if required. The classical guitar concert in the studio is considered as a situation where the soloist’s acoustic power is very limited compared to that of the orchestra.
