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#1
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Micing Concert Grand Piano
Gang,
I need to mic a concert grand for recording. What are the best ways to get the point of view/sound from the pianist? I was going to use two SM57s, and a condencer mic. One SM57 for the bass (left) one SM57 for treble (right). Then, place the condenser mic about 10 feet, front and center to the lifted piano lid (45 degrees). Any thoughts, comments, ideas? I'd do it the way the guy used to do it for Elton John, his name is Charlie Helpinsteel (I think) he goes by Ezra Charles. But I don't have the kind of money to buy and place all those pickups inside a piano. I wanted to do it analog, but I don't have a good reel to reel either. A buddy of mine offered to bring his 8 channel digital recorder, so that would work. Now I guess is the time for thoughts and comments. Thanks, Spike |
#2
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#3
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Spike wrote:
I need to mic a concert grand for recording. What are the best ways to get the point of view/sound from the pianist? For this project, where would you anticipate the pianist's ears to be located? Why not try a Jecklin disk or X-Y pair roughly at about that spot? Maybe slightly above and slightly behind the pianist's head? Or maybe ORTF? How about a simple, single point stereo mic? Since you're going after the "point of view/sound from the pianist", unless the pianist's ears are going to be remotely located one on the bass end and the other on the treble end, with a third ear 10 feet out in front, how do you figure you're going to get the pianist's perspective? That's one piano player I want to see. Be sure to take pictures and post a link. TM |
#4
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"Spike " wrote in message
Gang, I need to mic a concert grand for recording. What are the best ways to get the point of view/sound from the pianist? I was going to use two SM57s, and a condencer mic. One SM57 for the bass (left) one SM57 for treble (right). Then, place the condenser mic about 10 feet, front and center to the lifted piano lid (45 degrees). Any thoughts, comments, ideas? I'd do it the way the guy used to do it for Elton John, his name is Charlie Helpinsteel (I think) he goes by Ezra Charles. But I don't have the kind of money to buy and place all those pickups inside a piano. I wanted to do it analog, but I don't have a good reel to reel either. A buddy of mine offered to bring his 8 channel digital recorder, so that would work. Now I guess is the time for thoughts and comments. I record a grand piano using 4 mics. A Shure SM93 PZM on the underside of the lid about the middle. A MXL 603 at the foot, pointing up at the sounding board, polarity inverted with a special cable. Spaced omnis to pick up a more distant sonic view. The spaced omnis are forced on me - I'd like to use a coincident pair for that part of application. Recording this way gives a lot of options at mixdown time, but none are really like the perspective of the pianist. I think it might be interesting to try a coincident pair pointing down at just above the music rack hinge, from above and behind the pianist. |
#5
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Jazz Pop Piano
These days' female jazz/pop singers and pianists dominate the charts. Norah Jones and Dianna Krall are 2 of the best. Here we acknowledge that the lead vocal is the most important element but is immediately followed by the grand piano. Everything else plays a supportive role. One thing in common is that these types of artists are highly skilled pianist and will use the entire piano both musically and dynamically. These types of artists sometimes record their lead vocals while they are playing piano, which makes capturing the best performance very challenging and trade offs are sometimes required. When performing place a piece of 4' x 4' foam, a foot thick right on top of where the sheet music tray sits. I actually remove the tray for it usually produces sympathetic noises. This gives me great isolation between the vocal mic and the piano mics. Because there playing at times maximizing the full range of the piano I'll use large diaphragm condensers for their ability to capture low end. I'll place them about 12"-16" above the strings so I can get more of the sound board resonance and 16"-24" apart for the range of playing will be wider. Because the higher strings on a piano do not have dampers they will sustain. If the top end mic is not positioned to capture this range it will sound distant and reverb like (basically a little higher and wider pick-up than pop piano). I will leave the lid fully open for I don't want to choke the sound. If I need more low end from the piano I'll introduce a third mic over the lower range in an effort to capture the sonic fullness of the piano. I will add this mic in to both left and right channels and use it more for sonic purposes than musical purposes. I will always rely on the full stereo imaging coming from the other 2 mics. If I have to roll off the mid to high frequency range of the 3rd mic to achieve accurate stereo imaging I'll do it. With EQ you will need to make sure the top end of the piano does not interfere with the presence of the lead vocal. If the piano is to bright you will invariably have to bring down its overall level. When you do this you also lower the music element of the piano. All of a sudden your vocalist sounds barren for they are musically out there exposed on their own and even though the piano can be heard clearly it will not contain enough of the harmonic information from the low mid-range to support the lead vocal. Even though the levels of the piano and vocalist are close they are quite detached musically. "Be Aware" With Compression/limiting and EQ I tend to use it minimally. As with all piano EQ and dynamic control what you do to one channel you do exactly to the other. Jazz Piano With traditional Jazz pianists like Oscar Peterson and Keith Jarrett you will get performances that are highly complex in dynamics and musical content. These types of pianists are always improvising on the spot where they are literally are all over the vast range of the keyboard with incredible speed with dramatic dynamic changes. These random changes in performing are happening all the time and you need to prepare yourself to capture this type of performing. Experiment with mic positions and different condenser mics. Of all pianists, jazz players are the most articulate when it comes to meeting their needs. They "speak our technical language". I usually use pencil condensers like the B&K (DAP) 4000 series. They can handle a lot of level without distorting and can translate the percussive nature of jazz playing. As I said previously small diaphragm condensers capture very fast transients more accurately than large diaphragm. I'll often place the 2 mics slightly higher in the range and factor in a 3rd low end mic assigned to both left and right. If the room has good ambient characteristics I'll pull the mics further back and get an overall sound from the piano. With Jazz it's nice to get the articulation and the resonance of the piano. For dynamic control I'll get the player to play very loud and I'll still back off the level to allow for more headroom. With traditional jazz playing you do not want to be in a position to have to reset levels to prevent distortion. If any EQ is required it's usually in the high end just too add a little shimmer to the sound. With dynamic control, it will be used rarely for the dynamics are often exaggerated to highlight the performance. If any limiting is required it will be for getting more level on a CD, but only if it is not that noticeable. Classical Piano In recording classical piano factoring in a good recording ambience is very important to the overall sound. Recordings by the greatest classical pianist were mostly done in good concert halls and large studios. The conventional and traditional way to record piano is to set up 2-3 large diaphragm condensers at different angles approx 8ft-12ft away facing the piano. The mics are angled similar to the angle of the piano lid opening and are usually set up high (6ft-12ft). Large diaphragm condensers are used to capture the low end of the piano and are often used in an omni pattern to allow the acoustics of the space to be used and mics used in an omni have a flatter frequency response than mics in cardioid patterns. The distance between the mics and the piano dictates the ratio between the direct sound and the ambient sound. The goal of this type of recording is to place the piano and the mics in a strategic place for optimum clarity and room ambience. However I find this type of pick up limiting. If the tempo changes dramatically from adagio (slow) to allegro (fast) the piano sound can vary. If you found a mic position that suited an overall good pick up, you might discover that the piano sounds detached and dry with the slower moving pieces and quite muddy at faster tempos. What is perceived to be happening is that this type of pick up has dead spots in it, where once the ambience completely decays you hear dead air between the notes. The opposite happens when the tempo picks up and is quick. The piano begins to sound muddy and reverberant, for the decay is hanging over too much into the next note. This can be very apparent in there are sudden dynamic changes where the piano goes from a loud dynamic and quick tempo to a softer dynamic and slower tempo in a short period of time. The piano sound appears to have too much reverb in amplitude and decay time. Other than taking the time to find suitable mic positions and piano placement and risking losing a good basic mic position and piano placement most often the people involved will settle for a basic good all round position. I find this limiting. I was very fortunate to work with Glenn Gould the greatest classical pianist of the 20th century who was very much into sound innovation. With his recordings I would find a good position for the placement of the piano, usually in the center of the room away from any close walls. Next I would place 3 large diaphragm condensers approx 8ft-12ft from the piano in cardioid pick up patterns. With this placement I would strive for a sound that would be clear and balanced if the music was at a quick tempo (Allegro). Next I would place a stereo mic or 2 matching condensers between 12ft-18ft from the piano in omni to capture a medium reverb time that would include early reflections. Next, I would set up another stereo mic or 2 matched condensers approx 20ft-30ft from the piano for a reverb effect. This would allow for smooth decay times if the tempo was slow (adagio) and avoid any dead air. With this type of pick up I have maximum control over the recording situation. With 3 different mic setups at various distances I can change the piano sound from a clear distinct sound to a very warm and reverberant sound without changing the mic positions and having to constantly go back into the studio to alter mic and piano positions. With Glenn I would preview and mark the score where changes would be required if I was recording to a 2 track final mix or record to a multi-track and have control when I was mixing. Microphones B&K 4000 series, Neumann M149, 87, U-67, U-47, Akg stereo C-24 Excellent transient response, quiet, flat frequency response Pre-amps GML, Millenia, Neve, --any high quality pre that is quiet and good transient response EQ Neve, GML, API, Manly; --4 band, quiet, no colouration effect; more edge around 3khz-5khz bell curve wide "Q"; presence 10khz and up shelving; low end fullness 80hz-150hz Limiting Very little, not perceivable when inserted, fast attack and fast release times Compression Usually for pop; level control, creating more attack to the sound Med attack-medium release |
#6
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Spike wrote:
I need to mic a concert grand for recording. What are the best ways to get the point of view/sound from the pianist? I was going to use two SM57s, and a condencer mic. One SM57 for the bass (left) one SM57 for treble (right). Then, place the condenser mic about 10 feet, front and center to the lifted piano lid (45 degrees). What do you want it to sound like? The presence peak on the SM57 can be a real nightmare on piano, especially if you don't want the piano to step on vocals. If you want a close-miked piano sound, just using the one condenser mike might do. If you want a more distant sound, you can pull it back. But a smooth top end is a big deal when you get up close. I'd do it the way the guy used to do it for Elton John, his name is Charlie Helpinsteel (I think) he goes by Ezra Charles. But I don't have the kind of money to buy and place all those pickups inside a piano. The Helpenstil pickup really sounds godawful. It sounds better than any other pickup I have used, but it still sounds like a pickup and not like a piano. Studio recording is not the place for such things. There are times when you need a pickup to keep feedback problems down, but this is not one of those times. I wanted to do it analog, but I don't have a good reel to reel either. A buddy of mine offered to bring his 8 channel digital recorder, so that would work. Now I guess is the time for thoughts and comments. Well, what else is being recorded along with the piano? --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#7
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Matrixmusic wrote:
snip I'll use large diaphragm condensers for their ability to capture low end. where did you get this idea? Hans -- This is a non-profit organization; we didn't plan it that way, but it is ===================================== (remove uppercase trap, and double the number to reply) |
#8
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T Maki wrote: ... unless the pianist's ears are going to be remotely located one on the bass end and the other on the treble end, with a third ear 10 feet out in front, how do you figure you're going to get the pianist's perspective? That's one piano player I want to see. Be sure to take pictures and post a link. Hey, I was waiting for you to suggest slapping a pair of PZM's on the sides of the piano player's big fat head! Will Miho NY Music and TV Audio Guy Staff Audio / Fox News / M-AES "The large print giveth and the small print taketh away..." Tom Waits |
#9
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"Matrixmusic" wrote:
[...] I'll use large diaphragm condensers for their ability to capture low end. Kevin, please don't teach your students that particular piece of folklore. The size of the capsule has nothing to do with low freq. sensitivity. Noise maybe, but not frequency response. -- "It CAN'T be too loud... some of the red lights aren't even on yet!" - Lorin David Schultz in the control room making even bad news sound good (Remove spamblock to reply) |
#10
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Hans van Dongen wrote:
Matrixmusic wrote: snip I'll use large diaphragm condensers for their ability to capture low end. where did you get this idea? I asked him that when he said the same for recording drums. Kevin doesn't address questions arising around things he states as fact that are actually debatable or outrightly untrue.. "I use microphones for their ability to capture sound." "Hey, bro', good for _you_." Note he didn't, in this instance, say _more_ low end. "I use baskets for their ability to hold oranges." -- ha |
#11
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Does that mean that Earthworks M550's are no good on the bottom end?
Freq resp 9 Hz - 40kHz +1 or Earthworks QTC1MP Freq resp 4 Hz - 40kHz +1 ? g Max Arwood David Schultz" wrote in message news:Xh3Yd.23082$gJ3.13073@clgrps13... "Matrixmusic" wrote: [...] I'll use large diaphragm condensers for their ability to capture low end. Kevin, please don't teach your students that particular piece of folklore. The size of the capsule has nothing to do with low freq. sensitivity. Noise maybe, but not frequency response. -- "It CAN'T be too loud... some of the red lights aren't even on yet!" - Lorin David Schultz in the control room making even bad news sound good (Remove spamblock to reply) |
#12
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"Hans van Dongen" wrote in message
Matrixmusic wrote: snip I'll use large diaphragm condensers for their ability to capture low end. where did you get this idea? Good question. It turns out that one of the mics with most exceptional bass extension is a 1/2" DPA mic. Their 1/4" ain't bad for bass, either. AFAIK, bass roll-off is usually set by an intential leak between the diaphragm and the atmosphere. If the leak is really tiny, the bass is more extended. However the mic may then become susceptible to having the leak unintentionally blocked, making it susceptible performance changes or damage due to air pressure variations related to changes in elevation or weather. |
#13
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Hi Loren
You night be correct, but to my ears I hear a big difference. I find that using a Ahk D 112or EV 20 has a lot more bottom end on a kick drum than a 421. Also I used a B&K 4000 and a M49 on Yo Yo's Cello and he picked the LDC hands down for it's better botoom end. Again I atate you might be technically correct, but my ears just don't but it. kevin |
#14
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You know The reality of LDC and SDM mics is that in over 90% of
orchestral recordings you will find LDC's on Cello's and Arco's. Could all these classical guys be fooling themselves. kevin |
#15
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Matrixmusic wrote:
You know The reality of LDC and SDM mics is that in over 90% of orchestral recordings you will find LDC's on Cello's and Arco's. Could all these classical guys be fooling themselves. But, Kevin, the point being raised is one of sensible use of language when describing the effects of audio devices. It's one thing to state that one prefers LDC's for this or that; it's another to say they capture more or less low end. The first is an opinion. The second is a misstatement of fact. Hereabouts folks tend to try to avoid misstatements of facts. It's considered bad instruction. -- ha |
#16
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"I find that using a Ahk D 112or EV 20 has a lot more bottom end
on a kick drum than a 421. Also I used a B&K 4000 and a M49 on Yo Yo's Cello and he picked the LDC hands down for it's better botoom end. Again I atate you might be technically correct, but my ears just don't but it. " spell check man (no wonder you don't ask questions or respond to inquiries) if you compose your replies with a word processing program and cut and paste, these spelling errors would not be You night ?? you might Ahk D 112 ?? akg better botoom end. ?? bottom end I atate you ?? I state don't but it. don't buy it maybe they liked how you positioned the mic so it had a different aural reading of the instrument??? "Could all these classical guys be fooling themselves. " no, they made the choice on mic and mic position based on how the project sounds (and not on what the text book says) alone |
#17
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Matrixmusic wrote:
You night be correct, but to my ears I hear a big difference. I find that using a Ahk D 112or EV 20 has a lot more bottom end on a kick drum than a 421. This is a totally different issue. On open kick drum, most of the real sense of the drum is actually caused by diaphragm breakup on the microphone. This is why those three mikes sound so dramatically different on kick, much more dramatic than they are alone. If you put a B&K lab mike into a kick drum, you'll get a huge amount of bottom end. In fact, all you'll get is bottom end and when you play the thing back on typical speakers you just get a weak "whoomph" sort of sound because the speakers can't even reproduce what you've got. It's the microphone distortion that is adding the body and the sense of depth to the drum. On closed kick, it's a totally different matter, though. Also I used a B&K 4000 and a M49 on Yo Yo's Cello and he picked the LDC hands down for it's better botoom end. Again I atate you might be technically correct, but my ears just don't but it. Which 4000? If it was one of the omnis, I could see the proximity boost from the M49 being a good thing. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#18
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"Arny Krueger" wrote in
: "Matrixmusic" wrote in message oups.com You know The reality of LDC and SDM mics is that in over 90% of orchestral recordings you will find LDC's on Cello's and Arco's. I never said otherwise. Keven, I notice that you are so ashamed of your weird claim about LDCs having unique powers to reproduce bass that you declined to reproduce it. Ironically, Cellos aren't necessarily the biggest producers of really low bass in the orchestra. Rather than saying what they are not, let's make some positive generalizations. Remember, they're just generalizations. Because of their larger area, LDC mics can receive more signal and have less inherent noise. Because of their smaller area, SDC mics can have better off-axis response. A pair of SDC's on the whole orchestra may be appropriate because of their wider angle of acceptance. A particular mic on cellos may be appropriate for any of several reasons: a) The response curve favors the instrument. b) The directional pattern fits the size of the section. c) The sound through the mic blends better in the mix. None of these criteria favor large or small diaphragm microphones. |
#19
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All viable concerns Guys.
But as explained to me, sound intensity pressure, not level, contains more low freaquencies than higher frequencies over distance. High frequencies are lost easily over distance. The fact that a LDC has a greater pickup area than a SDC will pick up more low frequencies as compared to higher frequencies. It's a simple law of physics and acoustics. Yes both mics do pick up low frequencies but you will most likely have to add more low frequencies to a SDC to simulate a LDC low frequency pick up. In the case of cello's, double basses and tymps I believe you will notice that when using both types of mics, ths LDC will sound fuller in the low end. I belive this can be easily confirmed by the scores of professional engineers who favour LD's over SD's to pick up the musical low end of instruments. I've studied under too many pros to dispute them and my own listening skills. Also in almost all classical recordings the preference is for omni over cardiod is there with the exception of spot miking. kevin |
#20
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Does that mean that Earthworks M550's are no good on the bottom end?
Freq resp 9 Hz - 40kHz +1 This could be true, but I find it very hard to believe that the mic can pick up 9hz or even 20hz, only 1 db down from 100hz. It might look good on the spec sheet, but when using your ears, I believe you will discover a different story. Kevin |
#21
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I think they are exercising their preferences, which is often different
from general claims like yours that LDCs are chosen because of some alleged unique powers to reproduce low bas The LDC's are better at picking up low frequencies. The difference between 40hz and ikhz with a LDC is a lot smaller than a SDC. Just try it, I believe your ears will tell you the truth kevin |
#22
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I'd put a tissue over the 4000 on a bass drum, the air pressure alone
will turn that mic into a little hammer! kevin |
#23
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On 12 Mar 2005 08:11:12 -0800, "Matrixmusic"
wrote: The fact that a LDC has a greater pickup area than a SDC will pick up more low frequencies as compared to higher frequencies. It's a simple law of physics and acoustics. No it won't and no it's not. In fact, in free field, it's slightly the opposite. Chris Hornbeck |
#24
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Matrixmusic wrote:
Does that mean that Earthworks M550's are no good on the bottom end? Freq resp 9 Hz - 40kHz +1 This could be true, but I find it very hard to believe that the mic can pick up 9hz or even 20hz, only 1 db down from 100hz. Sure--measurement mics (including Earthworks) do this all the time. Even a 1/4" capsule can do the job (albeit a little noisily.) |
#25
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Matrixmusic wrote:
as explained to me, sound intensity pressure, not level, contains more low freaquencies than higher frequencies over distance. High frequencies are lost easily over distance. OK. The fact that a LDC has a greater pickup area than a SDC will pick up more low frequencies as compared to higher frequencies. It's a simple law of physics and acoustics. Neither physics nor acoustics says anything of the sort. If you are interested in knowing how this really works, I can forward you some incisive commentary by a microphone designer on this very subject. |
#26
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I am interested
dale |
#27
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Kurt Albershardt wrote:
If you are interested in knowing how this really works, I can forward you some incisive commentary by a microphone designer on this very subject. Just realized that the pro-audio list now has a web archive. Start here and read the following 15 messages or so http://www.pgm.com/pipermail/proaudio/2005-March/000366.html |
#28
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Matrixmusic wrote:
The fact that a LDC has a greater pickup area than a SDC will pick up more low frequencies as compared to higher frequencies. It's a simple law of physics and acoustics. You are wrong. You owe it to yourself to read some of David Josephson's information about this stuff. In fact, there is some very interesting discussion of LDC/SDC happening on the ProAudio list. You are a very successful engineer with some terrific credits. Why try to play physicist on Usenet? "Educator, educate thyself". Some physicists are talking about this: List-Id: Pro Audio mailing list proaudio.pgm.com List-Unsubscribe: http://www.pgm.com/mailman/listinfo/proaudio, mailto List-Archive: http://www.pgm.com/pipermail/proaudio List-Post: mailto List-Help: mailto List-Subscribe: http://www.pgm.com/mailman/listinfo/proaudio, mailto -- ha |
#29
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Matrixmusic wrote:
The LDC's are better at picking up low frequencies. The difference between 40hz and ikhz with a LDC is a lot smaller than a SDC. Just try it, I believe your ears will tell you the truth Wrong, and measurement will prove it. What we hear is based on our own preferences, and as I have said, no problem with having preferences. However, it is foolish to attempt to explain stuff you don't understand in an attempt to ascribe to physics matters of personal preference. Were you to give such an answer in a physics exam, you would flunk the question. -- ha "Educator, educate thyself" |
#30
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Matrixmusic wrote:
This could be true, but I find it very hard to believe that the mic can pick up 9hz or even 20hz, only 1 db down from 100hz. Belief is for religion, not physics, nor measurement of microphones. Regardless of what you believe, you are moving into a realm of which you apparently have little understanding. When that happens to me I try to figure out what is the basis for my ignorance, and even if I cannot work the math, I try to abandon my preconceptions once people who _can_ work the math explain their results to me. It might look good on the spec sheet, but when using your ears, I believe you will discover a different story. Our ears are not so accurate regarding frequency response, as they also interpret coloration as part of what they/we hear. -- ha "Educator, educate thyself" |
#31
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Matrixmusic wrote: All viable concerns Guys. But as explained to me, sound intensity pressure, not level, contains more low freaquencies than higher frequencies over distance. High frequencies are lost easily over distance. Not over the distances involved in recording instruments. What could be responsible for more bass with an LDC in some situations is an increase in proximity effect. The greater the front to back distance in a first order mic, the greater the proximity effect (in theory this is the only factor) and the larger the diaphragm, the greater the front to back distance. Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
#32
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Matrixmusic wrote:
Does that mean that Earthworks M550's are no good on the bottom end? Freq resp 9 Hz - 40kHz +1 This could be true, but I find it very hard to believe that the mic can pick up 9hz or even 20hz, only 1 db down from 100hz. It might look good on the spec sheet, but when using your ears, I believe you will discover a different story. No, it really sounds like it does. Much as I don't like the Earthworks mikes, they do have a good solid low end that just keeps going down, and they will accurately reproduce pipe organ notes that become buzzy and distorted on a U87. Note that the DPA goes down about as far, and the old B&K lab mikes go down farther. If you want an example, get a copy of the last RAP CD collection. I have a drum/flute solo there done with a pair of B&K 4145 omnis with a Jecklin disc. It has all the low end you'll ever need, and unfortunately more than most speakers can handle. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#33
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"Matrixmusic" wrote in message
oups.com Does that mean that Earthworks M550's are no good on the bottom end? Freq resp 9 Hz - 40kHz +1 This could be true, but I find it very hard to believe that the mic can pick up 9hz or even 20hz, only 1 db down from 100hz. That's because your model of microphone frequency response is defective. My personal experience with small diameter omnidirectional mics relates to the DPA 4007 which is a 1/2" mic that is typically found to be roll-off free within 2 dB, down to 20 Hz. In actual operation it is no more than 3 dB down at 3 Hz. http://www.ambertech.com.au/files/ar...icrophones.pdf page 17. Given that this is a widely-recognized and highly-regarded standard measurement mic, it is highly unlikely that its specifications are inaccurate. It might look good on the spec sheet, but when using your ears, I believe you will discover a different story. According to the Fletcher-Munson curves, the average ear is as much as 20 dB down at 20 Hz, as compared to its response on 100 Hz. In contrast electrical measuring equipment can cover this range within a 0.05 dB or smaller tolerance. Seems like measurements would be the more reliable indicator. |
#34
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#35
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On Sun, 13 Mar 2005 23:31:06 +0800, wrote:
(Scott Dorsey) writes: Note that the DPA goes down about as far, and the old B&K lab mikes go down farther. If you want an example, get a copy of the last RAP CD collection. I have a drum/flute solo there done with a pair of B&K 4145 omnis with a Jecklin disc. It has all the low end you'll ever need, and unfortunately more than most speakers can handle. And that brings the question; Where can I get a copy or the r.a.p. CDs? http://www.recaudiopro.net and push the Buy Now button. Don't have the volume up too high when playing Scott's track. -- Paul Repacholi 1 Crescent Rd., +61 (08) 9257-1001 Kalamunda. West Australia 6076 comp.os.vms,- The Older, Grumpier Slashdot Raw, Cooked or Well-done, it's all half baked. EPIC, The Architecture of the future, always has been, always will be. ----- http://mindspring.com/~benbradley |
#36
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Ben Bradley wrote:
http://www.recaudiopro.net and push the Buy Now button. Don't have the volume up too high when playing Scott's track. Man, you SPOILED the SURPRISE. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#38
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Ben Bradley writes:
On 13 Mar 2005 13:24:47 -0500, (Scott Dorsey) wrote: Ben Bradley wrote: http://www.recaudiopro.net and push the Buy Now button. Right. You need extra for sending to .AU? -- Paul Repacholi 1 Crescent Rd., +61 (08) 9257-1001 Kalamunda. West Australia 6076 comp.os.vms,- The Older, Grumpier Slashdot Raw, Cooked or Well-done, it's all half baked. EPIC, The Architecture of the future, always has been, always will be. |
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In article , wrote:
Ben Bradley writes: On 13 Mar 2005 13:24:47 -0500, (Scott Dorsey) wrote: Ben Bradley wrote: http://www.recaudiopro.net and push the Buy Now button. Right. You need extra for sending to .AU? Permit me also to recommend buying the RAP LP, if only because I still need to get them out of the warehouse (where they recently moved after I got tired of having them in the living room). --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
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wrote:
Ben Bradley writes: On 13 Mar 2005 13:24:47 -0500, (Scott Dorsey) wrote: Ben Bradley wrote: http://www.recaudiopro.net and push the Buy Now button. Right. You need extra for sending to .AU? Nope, that one price includes airmail shipping to anywhere in the world. Harvey Gerst Indian Trail Recording Studio http://www.ITRstudio.com/ |
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