[Peter Larsen[_3_]]

Scott Dorsey wrote:

Peter Larsen wrote:

The problem with double miking is that the two mike heads are never
quite
in the same place, and each mike is affecting the pattern of the other
slightly.

This can actually be an advantage for p-popping vocalists... stick the
recording microphone six inches back from the PA mike.

Amen!

Mostly my recordings are of unammplified events. A line from the pa
output helped well at a "jazz type" event, a tango orchestra,
combining it with a pair of overhead 4006's resulted in a
surprisingly good recording. What made the recording was the
diplomatic effort that resulted in pushing the pa loudspeakers back
to physical alignment with the backline, it also cleaned the room
sound up. Timing is important!

You can fix that to a great extent in post by just delaying the PA
feed to match the stage mikes. In the analogue world this was a real
pain, but
in the digital world it's fairly easy if you have enough tracks to
record everything separately.

Having an overhead pair of 4006's - fixed mounted for the duration of a
festival - necessitated getting the pa later into them than the direct
sound. It also made the PA efficient as side-fill so that the (strange, but
I was happy to have one less problem) lack of stage monitors was only a
virtue and not a problem.

In the mix of overhead pair + pa-mono I delayed the pa sound an additional
22 milliseconds because that sounded right and got praise from musicians as
well as pa-supplier afterwards. The pair being optimally placed for the
steinway didn't hurt, a good piano sound is a good alibi for any recording.
A very well playing ensemble also helps, those are always strangely easier
to record.

--scott

Kind regards

Peter Larsen