#16
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What can you say about the benefit of this technique compared to just recording mono? Fran
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#17
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The benefits? When an ensemble walks through my door I often have no idea what part the acoustic will play. Will it have a strong solo intro? Will it have a bridge or intermezzo part that will be pushed up out front? If I record in mono and the guitar gets a solo, I'm stuck trying to reverse-engineer stereo interest for the guitar part. That means having the guitarist double track his performance (and it is amazing how many guitarists simply can't match their own performances) or using a mono-to-stereo plug-in or using ambience tricks. It is much easier to record in a good, reliable stereo pattern that leaves you with all sorts of options. The turned-on-ear pattern gives you the same frequency spectra in both mics, unlike a spaced pair or even a horizontal X-Y pair. If I remember right, George used an X-Y pair at 90' for this. I've got my own pattern. Call it the reverse ORTF. I place a pair of cardioids 7" apart and at 110' using the AKG stereo bar but orient the capsules facing one another. The distance and angle help promote phase coherence, just as in the ORTF. The resultant pickup is spread nicely across the speakers (better than an X-Y) while the center image is strong and the room isn't emphasized too much. It looks like this with a pair of AKG C451B mics: Once you have your tracks down you can collapse the left and right channels at will to adjust the imaging. You can also choose one mic for mono if you please. I've doubled-tracked parts with this array and panned one performance with the left mic hard left and the right mic center and the other performance with the left mic centered and the right mic far right. That makes the parts HUGE but also more integrated than one mic far left and one mic far right. Bob
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#18
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That's a cool method Bob. A question for you. When selecting one of the two mikes for mono, does one typically stand out as more favorable? If so which mic, the top or bottom and what favorable characteristics does it exhibit over the other? Cheers |
#19
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Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#20
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Very interesting thx!!
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#21
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One of the best tips I have come across Bob :-)
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#22
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This seems to be the identical technique shown as " 6. Vertical Spaced Pair" on the Cakewalk website "10 Microphone Placement Techniques For Acoustic Guitar" page: https://www.cakewalk.com/Support/Kno...coustic-Guitar |
#23
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Really nice demo, Fran. Thank you very much for doing that. To my ears, the H6 mics in XY config are the only ones rendering the highs well and you really need that to do this nice guitar justice. The other two configs need some EQ in the mid/high area to sound better in my opinion.
JR
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#24
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If you want to try tweaking the EQ you can download the WAV clips and give it a try.
I'm hoping to follow up with a couple of other configurations, but we won't be home from Hawai`i until July. Meanwhile, we've probably discussed it before but I just got refreshed on the Sound on Sound mic position comparison, a rather exhaustive set of clips available here: http://www.cambridge-mt.com/rs-lmp-acgtr01.htm Fran
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