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Originally Posted by DarkestDreaming
Hi Bob thanks for your reply..
i think there's some perspective distortion in the video, because IIRC the mics are actually parallel to the foor, as well as pointing somewhere near the neck joint, perhaps at the 14th to 16th fret. If anything, I think it was my camera that is slighly off axis, and at a diagonal angle to me, as the mics would be blocking me and the guitar otherwise..
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It looks as if they are two or three inches
above the neck joint. They do look parallel to the floor, but set too high.
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Are you suggesting that i flip the xy 90 degrees so it essentially looks like top and bottom as opposed to Left and right? I have never tried this before.. seems interesting, i will try it out.
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Exactly.
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I am still not clear about your off axis explanation.. is it that high frequencies tend to get rejected more when off axis... and the result of that is a less brighter pickup of the sound? How else does this affect the sound... you mentioned odd resonances.. and how do i counter them.. i usually just run a quick check to see if my mics are not pointing at some point that is away from the general sound source..
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When you get a single polar pattern from the manufacturer, it is usually either an average of the plots of the mic over all frequencies or a plot at the frequency where the mic's pattern looks the best. If you look at the spectrum of the mic from 20hz to 20khz and do polar plots at various frequencies, you will see that the mic begins rejecting a different angles at different frequencies. It can be kind of hilarious, sometimes, with asymmetrical patterns showing up, etc. But the main takeaway is watching the variance of response against frequency to see if there will be a penalty in frequency response for being too far off axis. For example, a result, with some mics, as you go off mic you loose high end and some mids but the bass remains solid until you get off axis by something like 110'. Based on capsule resonance and the variance of off-axis response per frequency you can get "wolf" zones where frequencies jump out. Your recording sounded a little like that. It is a little like the opposite of comb-filtering. There were harmonic resonance points where I heard unnatural boost. Scott has identified some of these and reduced them, by the way.
Bob