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Old 24th October 2019
  #44
It was a thing I did one time like, 8 years ago or something (literally the day this thread was started), when I was still learning how to record, based on a photo I saw. That may have been the only time I ever tried it, it certainly hasn’t become a habit. Once I met my mentor, and he gave me the Bible on the subject, I’ve just done it that way and it’s worked great. Or terribly, depending on who in this thread you’re asking

Quote:
Originally Posted by avillalta View Post
Kevin,
One thing I will say about your offset tail mics is that I’m questioning how much lid-reflection you’re actually getting at either position (difficult to tell from the image). Diffraction, yes; but, at that distance, and at an even height with the lid, I’d say all of the 1st reflections off of the lid are vectoring into the harp (those pitches coming from the hammer end) as then to below, and down-stage of your tail mics (for those pitches originating from the strings and sound-board near the tail-end). It also appears that you’re outside of the critical distance of sound-incidence from the strings and sound-board where the comb-filtering from early reflections has already become highly randomized.
This critique is from a visual analysis only. My piano mic’ing habits don’t often include tail-mics unless I feel there’s a lack of low-frequency weight from the instrument/room/player. That said... Anecdotally, I find some Steinway Ds project a significant amount of low end from the tail, while others don’t.
Short story long; I don’t see any reason why tail mics have to be parallel to the horizon. I’d be curious to hear what the difference might have been between equal height and uneven height.