Lorin David Schultz wrote:
"WillStG" wrote:

For a TV application example if a lavalier mic is a bit too far
from someone's mouth than I'd prefer, I might tweak up 5-6kHz a bit
to compensate for the distance, and maybe add a bit of low end as
well to compensate for the loss of any desirable "proximity effect"
bass you get when the mic is closer to an anchor's mouth.


Ha! You got placebo'd! There *is* no proximity effect with a lav.
It's an omni (even the ones that claim to be cards are, let's face it,
just NOT).

Well Jeez, neither are Omni's Lorin. As a practical excercise you
haven't experienced an Omni mic can give you more bass response when
you place it closer you get to the source? Sure an omni lavalier
rustles less and has less problem with wind noise because "omni's have
no proximity effect", but then show me a perfect omni. Why mess with
things unless I hear something I don't like?

I've found that with *most* anchors (there are, of course, exceptions) I
actually get better bottom by lowering the mic a little. Getting it
away from their throat gets rid of all that low-mid larynx muck while
capturing better chest resonance.

Fine, whatever works for you. I used an example that has worked
for me to get rid of "hollow" room sound and get an anchor to sound
more upfront; you can't use "equalization" to bring something in the
diffuse sound field back into the direct sound field but for something
in the direct field you can do some compensation with eq for air
absorbtion/mic distance/positioning relative to the source was my
point.

Will Miho
NY Music and TV/Audio For Video/Live Sound Guy
"The large print giveth and the small print taketh away..." Tom Waits