Quote:
Originally Posted by Doug Young
It's not a problem, and if you somehow had a mic that canceled those phase differences out or was able to ignore them, it wouldn't sound like the same guitar, right? The mic's job is to pick up what's there, and those phase movements of the top are there - waiting to be heard and captured on a recording. Even with spaced pairs, the sound from every part of the top reaches both mics, so if this is some sort of problem, it'd be the same issue there, too - even worse, because the differences in mic placement will interact with the top motion in all kinds of ways. It kind of sounds like maybe guitar's a defective design that just can't be recorded :-)
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No doubt off topic (sort of) from the original thread intent.
For this discussion I don't care about the vibrational modes of a guitar top and how it helps determine its tone. I am focusing on what are the dimensions of the areas of the guitar that put out those vibrations and the length the resulting air mediated wavelengths travel from various places on the guitar to certain points in space, i.e. the phase issues inherent in path length differences around a broad sound source such as an acoustic guitar.
The reason XY has more of a problem with this then AB, ORTF, etc. is that
each mike is picking up nearly the same phase anomalies and at the same time. The mikes are doubling down on the anomalies - no mercy.
With non coincident mikes you usually will have a different set of phase anomalies at each mike and at different arrival times. Without the brain of the listener there is no sound, just the wave patterns. Our brain processes the difference of sound arriving at one ear from that arriving at the other ear into distance and location and in the process solidifies and rounds out the tone - within limits of course, but with mono and largely with XY there is no chance for this auditory processing to occur.