Help! I'm Looking For A Clue, puzzled over software/hardware needs Options

[tabor]

I have a brand spanking new mac mini and want to record some live performances to cd at near-studio quality sound for a "sample cd" of my work as a classical operatic singer. I know I'll need a good condenser microphone...

...any suggestions?
and a decent interface....any suggestions?

and some software that allows me to burn in at least 16 bit sound to a CD, keeping the possibility of CD duplication open...

...unless I can do this with Garageband 2 and itunes, which I doubt.

I'm doing live performances. One or maybe two tracks and very little editing if any, but I need it to have decent sound quality.

what should I be looking for?

(thanks in advance for any help)

Tabor

[Jaysee]

Hi Tabor, just a quick hello from a fellow opera singer. prior to a stroke back in '99 forcing me into premature retirement I sang many of the basso cantante roles in the rep at ENO the ROH etc etc. I'm afraid I'm not very clued up technically recording wise, despite a year or more fiddling around with my mac. It's hard isn't it!
re interfaces I have an MAudio delta44 internal card thing wich has a 'breakout box' 1/4" jack sockets 4in 4out. I'm not sure about the audio spec on a mac mini but I doubt if there's room to fit an internal audio card. There are lots of fairly inexpensive external audio interfaces out there nowadays with a much higher spec than mine.
You don't say if your recording plans are of yourself in a live operatic performance or just piano and voice as in lieder recitals. If its opera be warned, professional orchestras don't take kindly to people doing unauthorised recodings...even an old sony walkman I had hanging from my belt during a sitzprobe 20 years ago caused a row, even when I assured them the tape was a Herbie Hancock album I'd been listening to before the rehearsal! Anyway making an acceptable recording of a live opera is beyond the technical expertise of most people, even with the right gear.
For piano/voice, I'd say choice and the positioning of mics is the crucial thing. The sound is going to be different for every pair of ears in an audience depending on where they're sitting in the auditorium. One of the reasons the pianist Glen Gould gave up performing live was the realisation that there is probably only one optimum seat position in an auditorium where the 'mix' is just right acoustically. The question arises...is the conductor even in the proper place to balance an orchestra, or should he be out in the stalls where a mixing desk would be in a rock concert for example?? Likewise with the latest piano samples, many include elements of extra 'noises' like pedals clunking, keys clattering etc which I suppose is an accurate representation of the sound of a piano at close quarters if you are sitting playing it, but hopefully these are barely audible out in the auditorium where it's meant to be heard.
Recital halls tend to have 'flattering' reverberant acoustics, which is fine if you are actually there, but can sound very boomy if not mic'd up properly. Also once the reverb is there you can't get rid of it. It's a bloody minefield. which reminds me, a popular mic for that sort of recording is the 'soundfield' which allows one to almost zoom around the hall in 3 dimensions to different listening positions, after the event.(that's probably not an accurate description but I was mighty impressed when a friend demo'd one a few years back..pretty expensive though!) The good news is that really good pro quality microphones have never been less expensive.
Like I said take most of the above with a pinch of salt, I don't have much of a clue. I'm sure you'll get much better informed and experienced advice from others on the macmusic forums. I've lost count of the times I've turned of the computer and stared uncomprehending at a black screen thinking I'll never understand this stuff.
All the best, John Connell.