"Tom McCreadie" wrote in message
...
On Wed, 10 Dec wrote:
Heres a method I've been using you might like.
3 cardiod mics mounted on one stand about 10 feet above the conductor and
about 5 feet out into the audience.
Left mic aimed at the left edge of the band, right mic to the right and
middle mic straight ahead.
The 3 mics feed a small mixer.
Left mic panned hard left, right mic, hard right.
Middle mic panned center.
Now you can adjust the level of the middle mic to fill in the hole as you
like. My recorder is only 2 tracks so I have to make that mix adjustment
decision during tracking, I find about -3 to -6 dB to be good.
If you have a multi-track recorder, you can of course record each mic
separatly and make the mix decision in post.
Mark
You forgot to mention whether your 3 mics were spaced or coincident.
If spaced, at what distance?
if almost coincident, that set-up would tend to give you "fat mono", and
might
be improved by:
- hard-panning Left the difference signal "Left mic minus Right mic",
instead
of panning just the Left mic
- - hard-panning Right the difference signal: "Right mic minus Left mic",
instead of panning just the Right mic
--
Tom McCreadie
Makolber - how did you position the mikes there? High stand or hanging? If
hanging, how the devil do you do that? I really really really wish I could
hang my mikes and point them where I want them and connect them to some
station below.
Curiously, I have been using a three or four mike arrangement with 3
cardioids aimed L, R, straight ahead and if a 4th one for surround straight
back. They were about 35 cm apart and connected to my Zoom H6 4 track. Full
360° coverage with, in effect, 4 pairs 90° apart. Can mix any way I want,
can't find much fault with the results yet. Closest thing to it in the
literature is OCT, the Optimized Cardioid Triangle of Gunther Thiele. I am
guessing that his spacing is 60 cm and the book says that the Mid mike was a
cardioid, the flanders hypercardioid. Middle mike placed in the null of the
R and L flankers.
Gary