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Old 30th July 2019
  #9
Lives for gear
 

Quote:
Originally Posted by deedeeyeah View Post
in a not so great room, i'm using mostly directional mics, not only to take the reverberant aspects out of the equitation but also the interaction/spill from neighbouring instruments; 'mains' act as a reverence and still contribute a bit to the sound, but the balance becomes much different.

i truly believe that when using 'this' previously mentioned approach, one can come as close as wanted to results as if using 'that' approach/things recorded in a more traditional way* - the point is though that under mentioned circumstances (and quite often otherwise), that's not my goal...

any technique is artificial...

[just beause a technique was established a while back with the gear at hand at that time does not tell much about its value and as mentioned by other experienced engineers (in various other threads), some revered results were not achieved by simple means but with lots of gear, even back in the early sixties! at the same time, it would be silly though to use multiple mics, pres, converters, efx and whatnot if one likes results just from a pair of omnis - i charge less if that's the case...]



* maybe we should do this once in a while: record both ways and try to match results as close as possible! would be for the fun of it; otherwise, this would come dangerously close to 'discussions' such as 'how to fake...' a specific sound with this or that gear or technique: one cannot, one better uses the original or a very close copy!
Yes that would be a good exercise for the fun and instructive aspect certainly

Note also that I'm not sure how your 'mono main' mic would work in this context (I mean if there is no PA at the concert which needs to be fed by these mics)

If you made this mic as your main pickup (instead of say an ORTF pair) and it was high in mix level, it will tend to draw the images of the spot mics toward the centre...assuming the spots are panned ?

If the spots are all panned centre, then you have a mono mix (ideal for PA !) and no problem, if you are happy with a mono recording. The mono room mic will also tend to pull the room reverb to the centre...although you will probably be creating a spatial 'reverb field' for each spot mic, as you add them to the mix.

You may get close to a realistic stereo pickup (minus bad room) in this way...I'm simply not doing so often enough to predict the outcome ?