On Sun 2037-Jul-05 12:11, hank alrich writes:
Meaning that the instrument sounds better with some room sound? But
if we can get the BAD room sound down to a trivial level, we have
pretty good ways of adding better room sound.
Meaning that when one puts a directional mic very close to the
guitar the mic doesn't hear all of what's coming off of the
instrument. It's like putting one's eyeballs very close to a page:
peripheral vision has its limits, and one won't see all of the
image.
Exactly my point earlier in this thread. YOur point about
live performance is also apropos.
IF all I"m wanting is the plink of the strum for a rhythm
which will be quite dense with bass drums piano etc. then
I"ll close mic possibly, and add any room I need
electronically. But, if that guitar is supposed to be full
and rich I want that microphone back where the full sound of the instrument develops by the time it arrives at the
business end of the microphone.
IT's the same reason most drum booths suck. Yah I can add
artificial rooms electronically, but if the booth and the
mic position don't allow to get that mic back far enough to let the full waveform develop then I"m screwed from the
start.
IF it works for you in the application use it, but know what you're trading away by trying the close mic in a small room
and adding room electronically. I don't care how much
processing horsepower or how carefully you built the
artificial room it isn't the real thing when it comes to
capturing the sound of the instrument.
Regards,
Richard
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