let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.

would a figure-8 be good? i would think you would get the
straight-down sound (which is what you want) and the other side of the
mic would pick up the "ceiling" (who cares?) and then on the sides of
the mic you would have nulls so you would minimize feedback/interaction
with the loudspeakers/crowd.

true/false?

wrote in message
oups.com...
let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.

would a figure-8 be good? i would think you would get the
straight-down sound (which is what you want) and the other side of the
mic would pick up the "ceiling" (who cares?) and then on the sides of
the mic you would have nulls so you would minimize feedback/interaction
with the loudspeakers/crowd.

true/false?


i think the rear lobe would tend to enhance feedback.

i think standard percussion mic techniques would be best

wrote in message
oups.com...
let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.

would a figure-8 be good? i would think you would get the
straight-down sound (which is what you want) and the other side of the
mic would pick up the "ceiling" (who cares?) and then on the sides of
the mic you would have nulls so you would minimize feedback/interaction
with the loudspeakers/crowd.

true/false?

The 2 sides are out of phase with each other. I usually mix mono PA. That
could be a problem, or would it, Bob? (Bob's fond of advising me against
mono).

I'd think you'd be better off with 2 hyper cardioids like the EV ND 767's
pointing away from each other 120 degrees. Another nice thing about these
is the feedback null is not directly to the back of the mic, and I think you
could get better positioning for feedback prevention AND point them DOWN so
you wouldn't be pointing them at the ceiling either.

Julian

a écrit dans le message de news:
...
let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.



It depens on how loud is the environment.
I don't think figure 8 is a good approach for vibes on stage.
Perhaps in M/S but in studio. But I'm not a sound engineer, only a vibes
player who loves sound.
On stage for my vibes, if the band is playing loud I use 3 dynamics (one for
each octave) like 421 or 441 Sennheiser (but the look is awful on stage) and
if it's not so loud (acoustic Jazz without drums) a pair of small condensers
(Schoeps CMC6/MK4) in XY (or sometimes ORTF) around four feet above the
keyboard.
On Chick Corea/Gary Burton duo's DVD you can see the vibes miked with 2
Schoeps (don't know exactly the model) in A/B configuration.
Oh, and if there are are drums playing on stage, try to place the vibes far
away from it...

Laurent.

On 5/11/05 11:04 PM, in article
,
" wrote:

let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.

would a figure-8 be good? i would think you would get the
straight-down sound (which is what you want) and the other side of the
mic would pick up the "ceiling" (who cares?) and then on the sides of
the mic you would have nulls so you would minimize feedback/interaction
with the loudspeakers/crowd.

true/false?

True EXCEPT for the 'who cares' what's bouncing off the ceiling...

"SSJVCmag" wrote

true/false?

True EXCEPT for the 'who cares' what's bouncing off the ceiling...

Exactly. Why would you want that in your PA mix?

Julian

if it's not a very loud performance, with most of the sound pointed
into the audience, and the ceiling is quite tall, that bounce would
only be a small fraction of the sound compared to what is getting
picked up on the "intended" side.

wrote in message
oups.com...
if it's not a very loud performance, with most of the sound pointed
into the audience, and the ceiling is quite tall, that bounce would
only be a small fraction of the sound compared to what is getting
picked up on the "intended" side.

I can only assume for the OP's original statement:

"Oh, and if there are drums playing on stage, try to place the vibes far
away from it..."

that we are talking a situation where leakage is a concern. While what you
say is true enough in a tightly controlled recording environment in a live
stage setup with drums, vocal monitors or other instruments getting a tight
pattern in the vibes could be very helpful.

Julian

no drums, no vocal monitors involved

wrote in message oups.com...
no drums, no vocal monitors involved


You should be in great shape then.... still, I might come a little closer
to the vibes than if you were looking at them as 'overheads' placement.

You would also have some room to move that pattern to 45-degrees
or so off of the idea of pointing it straight down at the instrument...
depending on the acoustics and reflectivity of the surfaces close to
the area where the instrument is set up.

--
David Morgan (MAMS)
http://www.m-a-m-s DOT com
Morgan Audio Media Service
Dallas, Texas (214) 662-9901
_______________________________________
http://www.artisan-recordingstudio.com

a écrit dans le message de news:
...
no drums, no vocal monitors involved


Fine...

Which mallet keyboard instrument will you record ? Xylophone ? Vibes ?
Marimba ?

Don't forget some of these ones may be wide, my vibes width is 6 feet,
marimbas may be 9 or 10.

With only one microphone, you may lose the extreme low and high notes...

Did you ask the player if he had an opinion ?

Laurent.

I'd go for spaced cardioids. That works fine, in my experience.

--
Dave Martin
Java Jive Studio
Nashville, TN
www.javajivestudio.com


wrote in message
oups.com...
let's say you are in a live sound situation. and you wanted to mic
something "flat" like a xylophone.

would a figure-8 be good? i would think you would get the
straight-down sound (which is what you want) and the other side of the
mic would pick up the "ceiling" (who cares?) and then on the sides of
the mic you would have nulls so you would minimize feedback/interaction
with the loudspeakers/crowd.

true/false?