[Peter Larsen[_3_]]

"Frank Stearns" skrev i en meddelelse
...

"Gary Eickmeier" writes:

Session turned out fine, working on the CD now. Simple two mike ORT-F
configuration with cardioid mikes at 90°.

90? With cardioids? That's not quite ORTF

No, ORTF is a wording that is often used outside what it is valid for, I
have given up on explaing what it actually is. It is intended for longer mic
to source distances than those I end up using.

- at least with regular cardioids. Hypers, maybe, but I'd still splay
at 100 (which I do routinely with my M940 pairs). Regular ORTF needs
110 to get the smooth and proper left-to-right representation.

I get to disagree with you, my my my. You need to include the variable
"opening angle", close to a wide source as little as 45 degrees can be what
works. Which is to say that you can not specify stereo pair angle between
capsules without also referencing intended stereo included image angle or
simply "angular width of stage/ensemble" and or distance to said
ensemble/stage.

And you did use 17 cm spacing, right?

Now, if you want to use 90, switch to NOS, which calls for 30 cm spacing.

Cardioids spaced 30 centimeters, at a guess - I have a protractor based on
the Stereophonic Zoom paper somewhere, another member of a now closed club
designed it based on it - you could end up with parallel microphones.

I've found NOS useful for wide and shallow ensembles.

A friend often uses fig8's spaced 40 centimeters and parallel, we also tried
it with cards, works very well.

Just used it a few days ago to give me some mix highlight capabilities
for an entire wide and shallow row of percussion folks at the very rear
of a big combo orchestra and wind band. Worked fine with a
pair of C451s, especially on a way over-damped stage that really sucks
the life out of stuff.

I have used the C451EB's with CK1's as close as they could get, ie. with
XLR's touching and about 60 degrees angle when close to ensembles. Frank,
there really is only one parameter that matters, it is decorrelation, it can
be obtained via two tools: distance and angle, if you have the need for a
wide included angle - a wide ensemble - you need to go to more correlation
to avoid hole in the middle (!) and with a narrow ensemble you need to go to
more decorrelation to spread them out and make them fill the stereo image
up.

You can trade angle for distance depending on how your actual microphone
capsules work, with too wide an angle the offaxis response becomes the
center image frequency response in which case distance may be the better
decorrelation tool and - hey presto - we are back at agreeing as that is
what you say you do.

To complicate it all, main pair setup is different with and without
supporting spot-microphones, it is ONE SYSTEM, be it somehow distributed
over the ensemble or on one stick.

A very neat property of MS setups, one that is often not understood, is that
the center image gets on axis response instead of off-axis response.

In the real world: leave all the papers on a chair - preferably outside the
concert hall lest they confuse you - go set The Pair up, listen, tweak if
you didn't get it right but try to not tweak more than three times, too much
finagling scares the talent.

Frank

Kind regards

Peter Larsen