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Originally Posted by rumleymusic  I am not understanding your reasoning. Perhaps you can elaborate a little bit. I would think (assuming the main stereo image IS generated from a main pair in front of the orchestra and soloist) that a separate stereo pair not centered with the orchestra and in close proximity with 'non' solo instruments would throw off the balance more than a single spot. . . [cut] |
Just today I am working on edits for a Rodrigo Concerto andaluz.
The reason to use a stereo mic on soloist(s) is so that when you bring in the hi-lited material it does not stick out on the left (solo position). Sometimes when using a single mic, by the time you get enough level on the solo mic to be of benefit, it might stick out too much and collapse the stereo picture. It might sound "pasted on."
When you use a stereo mic or make the pick-up in true stereo, you have flexibility to pan it and fit it in to the program material without collapsing the stereo image.
Using stereo to mic the playa also maintains dimensionality in the sound.
I'm not suggesting that a single mic won't do the job and a singe mic is called for if you are micing farther away from the soloist (like a hanging vln. position). However for cello, vln micing with stand on stage, singers singing in to a mic position on stage and in our case for gtr playas, a stereo pick-up is ideal. I like to do this with a stereo xy mic such as Neumann SM69 or other xy type stereo mic.
It may take a while to get your position and panning worked out but this suggestion is one of the secret weapons for good sound.
See my sig. below.