Plan for the next recording

The plan

1. A better stereo microphone and recorder, not chosen yet, tested at home first with notes held for at least 10 seconds: both channels checked for a level drop after the attack, for noise and for clipping, in the recording itself. All selectable processing switched off: noise cancellation, automatic gain, voice processing and audio enhancement. Why
2. A safe level, but not this quiet. The positions are planned anew for the new microphones and tested in the church, together with the levels; then the position and the gain stay the same for the whole session. Why
3. Room tone with the blower on and off. Why
4. Gentle, even presses and releases on keys and pedals, and a recorded handling test. Why
5. One take per borrowed rank: Principal 8' with Octava 4' and Salicionál 8' with Dolce 4', each as one continuous take of all 66 pipes, with the same position and gain. Why
6. A note of 10 seconds, then 5 seconds of silence: 15 seconds per pipe, about 53 minutes for all 213 pipes without setup and retakes, and longer where the reverberation needs it. The recording timer can show the phases to the organist, with its silence phase set to 5 s. Why
7. A log: retakes, noises and setup changes are noted; the masters stay untouched, and every processing pass is logged.

The general method

The plan follows the method of the whole project, which I refined after this first session: see how I record.