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Old 4 weeks ago
  #6
Lives for gear
 

forgot to mention something: to me, it makes a difference whether i'm solely relying on a surround mains mic system (and very few spots) or if i'm using multiple/lots of spots - for the latter, i prefer using a near coincident main mic system as alignment of spot mics is much easier and results in much better phase coherence between the mains and spots. for the former, more widely spaced system can be quite nice.
oth imo profit from very large rooms/halls; actually, i cannot remember a surround recording i did in a small(er) room which i really liked, no matter what technique and tweaking i used! on those occasions, i liked upmixing (with a little bit help of the studer vsp panning and a quantec surround reverb) better than 'true' surround mixing...

and on the topic of exanding from l/c/r to 5.0: most of my surround mixes heavily rely on the front mics, possibly up to 70 or 80% and only very rarely an ensemle/orchestra is into getting things mixed much differently: if so, it helps immensly to know about any preference or one risks to put mics in the wrong place...
also, don't forget about the lfe channel! i often but a blm or pzm behind the conductor; of course this is also helpful for 2.1 (or to record an organ) - much fun! i recommend using proper tools for alignment though.