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Originally Posted by MATTI beware the ribbon (side) mic needs lot`s of gain compared to the condercer (mid) mic. |
Good point.
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Originally Posted by MATTI as it having totally different resp. curve makes the stereo
image unstable |
Not sure how you can get more "unstable" than two completely different instruments...
It is true that when you collapse to mono, the side signals won't be
completely gone like they would with a perfectly matched figure-8, but it's absolutely no reason to skip out on ribbons for figure-8 techniques (all ribbons are like this). I just used a ribbon + condensor M/S for piano the other day and it was beautiful.
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Originally Posted by MATTI You could use two ribbons in Blumlein pointing the nulls to the steelpan assuming the ceiling isn`t low and the acoustics is nice altogether. |
Blumlein rocks...but not for rejection. Figure-8s have gobs of rejection on a very narrow dimension (more than the cardioid's null) but once you get just slightly off-null they'll start picking up sound quickly.
It might work though if the bleed isn't bad to begin with...or if that's the artistic direction you want to go.
I should note...there's absolutely nothing special about the mics I mentioned except (1) the patterns are necessary (fig-8 mic in particular), (2) they're cheap, and (3) I've used all of them frequently for similar applications. Definately mix/match...if a certain mic catches your eye and refuses to let go, I've often found it cheaper to just get that one even if others get better reviews. Otherwise I keep second-guessing "what if I bought the one I really wanted..."
Buy from a place that offers hassle-free returns (like Mercenary does on the high end stuff) and just trade out what you don't like.
Dave