setup. The front mics are configured O.R.T.F. with a center channel
mic in
between. The rear mics are at 90º angles to eachother.
All of this sat on a single stand, with a single cable bundle that I
tied
together the night before.
Deployment of the gear went smoothly and quickly.


Hello Mark,

Listen very carefully and you will find out that 17 cm ORTF for stereo
is fine, but a center mic in between is not good for the sourround
sound front. Also the rear mics seem to be to close to the front.
The coloration of large diaphragm mics are also not ideal.
I know you are just starting. Good luck.

Cheers Jens


I didn't mean to give the false impression that I've just started making
recordings. I meant DIGITAL recordings with Behringer mics. Actually, I've
been recording concert bands since 1977, but this is the first time I've
done it with the Behringer mics and digital audio chain. :-) In the old
days, I used reel to reel decks and analog mixers for these gigs.
I used to be a big fan of small diaphragm condensors, but after hearing the
transient response of the B-1s, I'm sold on the sound. What coloration? What
I heard in my headphones and what I heard without the headphones sounded
damned near identical, save for the time and delay differences between my
position the the mics'.
I chose to go a little more than 110º angles between the front L-R mics,
knowing there would be a center channel. The stereo mix sounds "discreet" as
a result, but with the center mix in there, it meshes nicely.
As for the rears, the mics are all cardioides, and I don't want to distort
the delay factors by moving them far away from the fronts. They are maybe
25cm back from the fronts and completely isolated by the back pattern
rejection.
I'm in the process of capturing the videotapes to the HD array at the
moment. Video from three cams has to be synched, then the audio's 6 tracks
(includes an LFE channel that I may or may not use -- because the bass drum
player was too timid to really whack that thing) will be synched to camera
audio and all heads trimmed to the same start point.
The challenge comes from having so many options before me. In the past, I
had only two channels to work with in post. There were few decisions to
make.
But I'm sitting here listening to the stereo mix I derived from R-L in 24/96
and boy does it raise the goosebumps! This has more of that "you are there!"
feeling to it than anything I have on CD from Telarc, Phillips, et al. The
freedom from any hint of hiss is also refreshing. Something the Big Boys
haven't seemed to address.


--
Best Regards,

Mark A. Weiss, P.E.
www.mwcomms.com
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