Quote:
Originally Posted by Larry Elliott  How much of the footlight mics did you use compared to the suspended ones? |
"Interesting" is a
very generous way to put it, Larry... I've arrived at this way of doing things purely through instinct, maybe subconsciously I'm building in redundancy in case some mic contact fails? Or maybe I'm just unschooled and, well... bizzare?
Generally, you're hearing all the sets of mics more or less evenly, panned hard left/right, with perhaps the overhead Avants doing slightly more of a lion's share, and when the levels rise there are sidechain compressors that will squash the footlight sets way, way down to avoid overloading things... it just seems like the more mics you have, you are "closer" to everything, and you get more detail overall. And then, during mixdown, "deciding" how lush or clear it all is, that's very much a conscious effort to meet people's expectations. All kinds of mics gives you all kinds of leeway in that department.