Originally Posted by tonetank
That's the first reasonable argument for a mic I've heard in a long time. Very refreshing.
Thanks - if I could only had typed that without the tons of typos - sorry, sent it from my phone.
Originally Posted by evisto
I have never used a fig 8 as you say. How would I use It?
There is a lot in this section of GS on fig8s and the MKH30 in particular. Quite a few things to consider... I would highlight the fact that a lot of fig8 mics sound really thin at distance (check proximity effect). In the past I had tried unsuccessfully to spot with Schoeps MK8 - I had to apply a lot of EQ to boost the low end. But the MKH30 doesn't have this problem, regardless of how this is being achieved (again you can ready a lot about this in the Remote section - many arguments!).
The good thing about fig8s is also the quality of spill - it just sounds very good (especially single diaphragm mics).
As how to use it - have a look at the polar pattern of any fig8: you get sound from the front and the back, but attenuate a lot form the sides (obviously incl. the top and bottom). This is where you would want to have the offending sources to reduce spill.
I do this all the time - classical, rock, whatever. Last week I did 3 sessions of small classical groups and all ended up with MKH30 as spots (violin, classical guitar, harpsichord, gamba...). But also for rock I also love this technique on Toms for example.
What Plush was suggesting is to go for a ribbon. Those are also fig8 but are a different beast with a different sound - some call their sound duller, others softer. Whatever it is, they surly can be very useful for closer miking of acoustic instruments where the harshness of proximity is desired to be avoided.