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String orchestra Condenser Microphones
Old 2 weeks ago
  #31
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tourtelot's Avatar
Quote:
Originally Posted by Rolo 46 View Post
Yes Doug
Red Ship Left Port.
Hmm. You didn't really answer my question. So are you saying that the green dot is the right-facing Side-mic pickup? If so, isn't the left side completely blocked from pickup by the Mid mic? Still confused.

D.
Old 2 weeks ago
  #32
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Larry Elliott's Avatar
Hi Doug,

Roger uses the BBC method of designating Left and Right, which as he indicates above is based on the Port and Starboard lights on ships.

It can be a bit confusing because Red is LEFT.

Larry
Old 2 weeks ago
  #33
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tourtelot's Avatar
So few voices here for my favorite for small strings, the Mk2S pair in A-B at 40-50cm. Well, not counting the Samar stereo ribbon. Or an Mk21 pair. But those you don't list.

Depending on "if the room doesn't sound awful." Very sweet sound for small ensemble capture. M/S narrows the stage too much for my liking and while it can be fixed in post, it's a bit of a PITA.

Plenty of other mics still in the closet for spots. Too small a group for flankers. Can't imagine that they would be needed. Mk4s for first stand violin and viola, 414 for the cello? Maybe the MKH30 for viola to save the 414 for bass. Don't love the Mk4 on cello but it would be fine. Anyway, lots of choices from lots of fine, experienced engineers. Pick one

My $.02.

D.
Old 2 weeks ago
  #34
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tourtelot's Avatar
Quote:
Originally Posted by Larry Elliott View Post
Hi Doug,

Roger uses the BBC method of designating Left and Right, which as he indicates above is based on the Port and Starboard lights on ships.

It can be a bit confusing because Red is LEFT.

Larry
Yes, I get that. I'm a sailor. Still don't get the orientation of the pair in the suspension. It would seem that I'd want to block the rear of the mid mic with the side mic if any blocking were to take place but that puts Roger's pair in a weird position vis-a-vis the stand. Still confused.

D.
Old 2 weeks ago
  #35
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there are different ways to set up an m/s array: mics behind each other (with the mid mic before the fig8), side by side (as pictured above) or on top of each other, a combination of ldc and sdc or two ldc's, three cardioids etc.: at some distance to the source, the position/orientation of the capsules mostly doesn't matter much - the directional pattern of the mid mic affects the results but the main thing is to get the capsules as close together as possible.

my favourite combination is the first option i mentioned and mostly a cardioid (or sometimes a wide cardioid) capsule for the mid mic; i have been experimenting with delaying the mid mic to match the position of the fig8 mic but i could only measure, yet not hear (much of) a difference - m/s is the most easy/best mic array for perfect time alignment of spot mics though.


p.s. i do not consider to block the rear to be a good idea: you'd possibly get a rather weird pattern behaviour and frequency response...
Old 2 weeks ago
  #36
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Larry Elliott's Avatar
Understand - I have used this approach several times and been happy with the results. I'll leave it to Roger to respond.
Old 1 week ago
  #37
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Quote:
Originally Posted by tourtelot View Post
Hmm. You didn't really answer my question. So are you saying that the green dot is the right-facing Side-mic pickup? If so, isn't the left side completely blocked from pickup by the Mid mic? Still confused.

D.
No Doug
Its quite transparent
Its Mylar
This has been extensively covered over 9 yrs on this Forum.
I have never had to compensate any Sum and Difference recording apart from a Pearl D60 which had pronounced spaced capsules for MS
Roger
Old 1 week ago
  #38
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tourtelot's Avatar
Okay.

D.
Old 1 week ago
  #39
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Quote:
Originally Posted by Rolo 46 View Post
Here's a modern archive recording (this July)
A fragment of Tippetts Concerto for double string orchestra.
Two MKH 30.
Roger
Positioned how?
Old 1 week ago
  #40
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MidSide as discussed and illustrated
This post is 6 yrs old !
Roger
Old 1 week ago
  #41
0VU
Gear Addict
 

And it's no better practice now than it was then.
Old 6 days ago
  #42
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Everyone has their preferred practices.
Have you ever tried it Zero?
I find it remarkably effective.
If you can render a good mono balance, good stereo is guaranteed.
This cannot be said of other spaced techniques.

Did you actually listen to the Tippett fragment ?

Mahler 3, two mikes

Try listening to this thread.
Its illuminating.

Roger

Last edited by Rolo 46; 6 days ago at 11:38 PM..
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