That sounds really nice. How did you arrive at the mic stand position?
I got the ribbons to reduce the room signature and experiment with mid-side.
The stand position avoids reflections off the lid and some of the extreme left to right wandering of individual notes, particularly where the bass strings cross the tenor/mid. The treble is favored, but balances well without being too close. I did widen the sides slightly.
I used a little more distant, but similar placement for ab omnis in this recording of Summerland on YouTube.
I have found that sweet spots can be a matter of an inch or two in height. The mid can take that place and the sides don't matter so much. With Blumlein there would be about 5-6" difference in vertical placement.
So I am just starting with M/S. Will try both at a greater distance. Just getting started with this.
From the picture, seems like a (more or less) likely position for the pair. My question is why M/S and not Blumlein?
Oh and sandy. The Samar better show it's good side. A lot of money to pay if it only sounds like a Rode (just sayin )
I am trying it this weekend on chamber music in a good room. We shall see.
Doug, I hope it works its magic for you. Earcatcher thinks it sounds good and he is critical of what works and what does not. I sent him some rehearsal tracks of the local chorale.
I hope to get out to record a bluegrass group on Thursday night that is semi-pro and were good the last time I heard them. They are missing their Dobro player who was very good but died suddenly. I cannot mic from in front so I will come in over the group and face the mic into them from maybe 7 or 8 feet high. I will use gaffer tape to hold the mic in place. I like the mic because it sounds good, to me, and is not overburdened with "color". I like the Schoeps philosophy that to get accurate sound is first, color can be added later. But if you start with a mic with a lot of color you just can't take it out.