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Old 9th August 2019
  #19
Lives for gear
 

Quote:
Originally Posted by deedeeyeah View Post
m/s (or x/y) behave much differently than blumlein if used as overheads on instruments with strong transients...

...but all of them lead to emphasis cymbals, gongs, bells, triangles etc. way too much imo and is why i mostly refrained from using condensers as spots at relatively large distances on percussion instruments - or if using any, attenuate hf for better matching of the sound as captured by the mains!



@ studer58 : you recently contemplated using dynamic mics for recording of acoustic music: here's a section/situation which can greatly benefit from doing so.
Yes that's exactly the context I see them being useful as spots, where the mic becomes relatively deaf/insensitive to instruments other than the one being targeted...especially if it's surrounded by other loud ones. Where there's a fairly steep 'drop off zone' outside of the mic's sweet spot (like when a singer moves off axis from an SM58) That's the kind of selective discrimination I'd be looking for in a dynamic mic, in such situations....to avoid bleed from adjacent instruments.

Most condensors don't do this quite as well...does anyone know if ribbons function similarly (I'd expect they would do so very well, on their null sides, but much less so across the rear (antiphase) face ?