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Old 12th January 2020
Lives for gear

Originally Posted by David Spearritt View Post
So humor me here. We have a gig where there is no sound check or time for a sound check in a totally unfamiliar hall. Low budget gig. Low budget sound expected.

A stereo main pair array between 3 to 4m from the ensemble and 3 to 4 m in the air will work. We all know that.
The availability of 3-4 metres behind the ensemble is a desirable, reasonable expectation....but any number of audience seating or hall mgt constraints can render that impossible...and that's where the 4 mic bar kicks in.

Even if 'low budget sound' is expected, why settle for such easy, low hanging fruit...when a blend of 2 pairs may have the capability of extracting more from the room than a single pair, with no necessary recourse to plug in reverb or eq or compression as you might with a textbook single pair.

If the pairs are located correctly on the bar, so that each pair is throwing a complementary stereo image to its partner, you do have the option to use some (or no ) blend, as deemed necessary. My experience is that it's never 50/50....more like 70/30, 80/20 or 90/10. If the directional pair are giving most of what's necessary, but a sense of bass extension/foundation and ambience are deficient, it's possible to use selective filtering of the Omni pair to provide that component only, as per Jim's description in post #7 ...

I'd argue it has more in common with a Decca Tree than differences from it: both are spaced, phased arrays, both probably don't augur well from a purely mathematical, theoretical standpoint...but they are empirical responses to practical situations (and they work !)