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Rode NTR Blumlein/M/S
Old 12th April 2017
  #31
Gear Head
Quote:
Originally Posted by jimjazzdad View Post
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.

Bazile
Old 12th April 2017
  #32
Gear Head
Quote:
Originally Posted by tourtelot View Post
My question is why M/S and not Blumlein?
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.

Bazile
Old 13th April 2017
  #33
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boojum's Avatar
Quote:
Originally Posted by tourtelot View Post
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.

D.
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.
Old 13th April 2017
  #34
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Old 14th April 2017
  #35
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Old 7th May 2017
  #36
Gear Head
 
bobkeiser@ieee.o's Avatar
Quote:
Originally Posted by blanneau View Post
Two Manfrotto mic bars. Recording of piano tuner friend. First part of recording is una corda, hence the darkness at beginning.
Nice job, blannau…I just picked up the NTRs last week & started working with them today. I studied your implementation & I see you disassembled and reversed the two main parts of the RM2 microphone mount in order to keep the cushioned side of the RM2 against the mic body & make this work.

Yes, I own the AEA N8 phantom ribbons and they are probably a little easier to work with using the custom accessory AEA stereo mount. And the R88mk2 passive ribbon is easier yet. But GAS hit & I've been wanting to try these NTRs!

Thanks, all.
Old 8th May 2017
  #37
Gear Head
Yes, I took the screw out and flipped the mount. Thx. Bazile
Old 11th May 2017
  #38
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jnorman's Avatar
Studer - yikes! That hum is huge!
Old 11th May 2017
  #39
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boojum's Avatar
Quote:
Originally Posted by jnorman View Post
Studer - yikes! That hum is huge!
Ten years in Pun Prison for you, James!
Old 12th May 2017
  #40
Here for the gear
Quote:
Originally Posted by blanneau View Post
Two Manfrotto mic bars. Recording of piano tuner friend. First part of recording is una corda, hence the darkness at beginning.
Is it possible to do this with one manfrotto bar on a boom stand?
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