This recording session is a group recording project that is done at Judson church, New York, in which I am one of the recording engineers as well as the mixing engineer. Below are some technical details I summarized. 
Four DPA 4011 microphones in cardioid pattern were used for flute, oboe, bassoon and clarinet as spot mic, and a Schoeps MK6 in cardioid for the French horn. Each spot microphone was about 3 feet away from each instrument, in about 3—4 feet high pointing downward a little bit with an angle, pointing on axis. For the main pair I used ABC system that consists of three paralleled placed 4006 omni microphones. The ABC pair was 4—5 away from the ensemble and about 10 feet high, tilting down a little bit. In addition, a MS system by Neumann USM69 stood 3 feet away from the ensemble and 11 feet high. For ambient sound, I had two AB pairs: Two Schoeps MK2(omni) that was about 20 feet high and 15 feet away from the ensemble. Two MKH8040(cardiod) which was 5 feet lower than MK2 pairs. Signals went through Millennia preamp and SSL ADC and were recorded in Pro tools.

Woodwind Quintet

This is also a group recording project in which I am one of the recording engineers. Here is only a raw track with rough mixing by myself.

Piano: U87s-Close cardioid mics to pick up the piano clearly and intimately with as little bleed as possible. DPA 4011s-Middle distance for mixing. M150-Broader room tone. Vocal: SM7B-Smoothness and warmth for a soft jazz pop style. Trumpet: Coles 4038-tried and true for brass. Violin: Josephson C700s-Flexibility of sound and directional patter for a versatile instrument. Full and warm, but detailed. Double bass: RE20, C414, KM184-variety for different bass textures from different placements. Kick in: RE20-Rocky, live sound, good definition without the need for loud drums. Kick out:M147-Warmth and definition without the need for loud drums. Snare top: SM57-Classic. Irreplaceable. Snare bottom: D441-Deeper voicing for smoother sounding snare. Toms: MD421-Good, balanced reproduction of the low-mids. Hi Hat: KM184-Clear, bright and Attack. Cymbal OH's: Coles 4038-Darker, not overpowering. Rooms: U87-Slightly more edge for the drum mix. M150-mix with far piano mics.

Studio Live Recording

This recording session is done at James L Dolan studio at New York University. My role is recording/mixing engineer. Below list some technical details.
I placed three Neumann KM184 small diagram condenser microphones as spot microphones for first violin, second violin and viola, at approximate 70 inches height, looking toward the F hole from the side. A Neumann M147 tube condenser microphone was positioned at 32 inches height for the cello with a 45° angle off the center, pointing somewhere between the F hole and the bridge. There were three main pairs for the hole ensemble: DPA4006 (omni) as AB, SchoepsMK6 with CMC(cardiod) as ORTF, Royer SF-12 with two capsules in figure8 as Blumlein. AB pair was standing 79 inches high and 39 inches apart between on another and 90 inches from the ensemble. The ORTF pair was standing 73 inches high. For the Blumlein pair, the SF-12 was in 70 inches high and 86 inches from the center of the ensemble. API 512c preamps and the built-in AD/DA convert on SSL Duality channel strip were utilized to process the signal.

Ye Yuan