#46
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Duplicate post. I forgot that I had previously posted the same thing a few pages back (post #25).
Last edited by Herb Hunter; 10-22-2009 at 06:41 AM. |
#47
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Quote:
X/Y in the near field gives quite a narrow image when recording acoustic guitar, for example. I wouldn't use such a setting as my only mics for acoustic guitar. Spaced omnis might be nice as additional mics, along with a main mic for the centre. Quote:
The 3-to-1 rule doesn't help to prevent these high frequency cancellations - you simply need to experiment to find usable spots for your mics. The 3-to-1 rule is for bigger distances, and in that case the rule can help you to avoid low frequency phase cancellation - two waves coming from the same source (more or less a point source), but with different arrival times. You won't have any phase cancellation in higher frequencies with bigger distances (it's physically impossible). Quote:
The uneven radiation pattern of the guitar is one cause why I would recommend putting the mics further away. The guitar just often doesn't sound even in one spot close to the body - and when the player starts to move the sound will be screwed up pretty fast. Further away the radiation pattern is more even, you get the sound of the whole guitar, and player movements don't have that big an effect on the sound. BUT you will get more room. In relation to omni vs. cardioid, omnis sound much more natural and clear and relaxed than cardioids. An acoustic guitar (or any other instrument, but it's quite noticeable on acoustic guitars) always sounds nasal when recorded with cardiod mics, compared to omni. This is due to physics and can't be completely avoided. If you want to have a natural recording, use real omnis (there are "fake" omnis which are in reality two cardiods - all the switchable mics produce their omni setting that way. Those have the same characteristics as cardioids. Real omnis react to pressure, while all other mic types react to pressure gradients. Again, I don't know the correct terms in English. Real omnis have a cleaner low end reproduction). Then again, people are so used to that nasal sound of cardioid mics, along with their proximity effect bass boost, that you might find the sound of omnis strange in the beginning. But it's worth to get used to it!
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Martin CS-21-11, Martin CS-D18-12 (as a loan), Goodall RJC, McIlroy A 25, Lowden O 10, Lakewood A 32, Fylde Short Scale Bouzouki, G & L F-100 electric, Suhr Classic electric, etc. www.rumishatt.ch www.rumishatt.com www.pilgrimstudio.ch Last edited by rumi11; 01-05-2010 at 03:58 AM. |
#48
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Cool rumi11. Regarding omni mikes my mike budget is bust right now but if you would like to loan me a pair...
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Derek Coombs Youtube -> Website -> Music -> Tabs Guitars by Mark Blanchard, Albert&Mueller, Paul Woolson, Collings, Composite Acoustics, and Derek Coombs "Reality is that which when you stop believing in it, doesn't go away." Woods hands pick by eye and ear
Made to one with pride and love To be that we hold so dear A voice from heavens above |
#49
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Great discussion, i learned alot just reading all the posts. Perhaps one day i will dive more seriously into the black hole that is home recording.
Anton
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http://wwww.celticfingerstyleguitar.com Albums: The Isolation Waltz Noone Lasses Youtube Music on Spotify |
#50
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Well, California is not exactly just around the corner... But I could make some suggestions when your budget is ready, if you like.
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Martin CS-21-11, Martin CS-D18-12 (as a loan), Goodall RJC, McIlroy A 25, Lowden O 10, Lakewood A 32, Fylde Short Scale Bouzouki, G & L F-100 electric, Suhr Classic electric, etc. www.rumishatt.ch www.rumishatt.com www.pilgrimstudio.ch |
#51
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Quote:
Best, Rumi
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Martin CS-21-11, Martin CS-D18-12 (as a loan), Goodall RJC, McIlroy A 25, Lowden O 10, Lakewood A 32, Fylde Short Scale Bouzouki, G & L F-100 electric, Suhr Classic electric, etc. www.rumishatt.ch www.rumishatt.com www.pilgrimstudio.ch |