[Peter Larsen[_3_]]

Frank Stearns wrote:

Not sure I follow... Step 2: you mean, just one of the main pair
mics? What flavor of stereo pair are we talking about? AB? ORTF? NOS?
XY? MS? (etc)

I used just the one on that side - ie. the right one and panned the spot mic
left, dunno which to choose with MS, it was AB, 50 centimeters between
4006's, piano mic a single KSM 141. I ended up redoing it because it didn't
integrate properly when listening to the final 44.1-16 and moved the KSM 24
milliseconds instead of 22, so I don't really know.

Step 3: should the spot pan be opposite pan of the selected main pair
mic (assuming you're just using one from the main pair).

If I understand it correctly I like the approach, but anticipate some
little gotchas with this method. Want to make sure I fully understand
it and then try it.

My R44 gave me the idea when recording a piano quartet, there's no way to
pan on it and the time difference when listening with the spot mic on
channel 3 was very disturbing, but hearing it like that made it very easy to
move it around at the "far end" of the piano to get its tonal balance to
match the 4006 pair, not mine. The Fostex MR8-HD has better ergonomics, but
the R44 has more bits and more portability. That Fostex remains a
surprisingly bag for audio at a very nice price.

I find millisecond steps can be too large; single sample steps can be
better. Quite often the ideal delay is only 3 samples wide (44.1K);
go one sample out on either side and you lose the good sound.

! - certainly a point confirming the feel I'm slowly getting, one of
preferably using an ORTF type setup if spot(s) will be required in case of
AB. This also because that quartet in two other rooms is "just right" on my
C42's. It ended up being "too hi-fi" ....

! - also a point confirming my feel that using just one spot mic on piano is
less problems than using two. Comments appreciated.

Thanks for the idea; will be interested in clarifications.

I found it a time-saver. Now if onlý I had a big round button labed "time"
on the arm-rest for it - some computing is best done on a real chair sitting
at a real desk, but to me the best daw'ïng is via remote operating the daw
from an armchair using a laptop.

To those suggesting looking at the waveform: yes ... but there's nothing
obvious to look at with such a recording. I have a supersonic range finder
that uses a ""+20 kHz click"" - firing it near the spot could in theory be a
good method, but my ears always hurt after using it and it would certainly
annoy the practicing musicians.

Frank
Mobile Audio

Kind regards

Peter Larsen