"Tom McCreadie" wrote in message
...
John Williamson wrote:
You could try altering the EQ on the S channel to alter the relative
levels of the HF percussion. If it moves in and out, you've got a
frequency response problem.
But altering the HF equalization on the S channel - or the M channel, for
that
matter - will _always_ make the imaging of HF components move in or out.
That's
pure physics, and such a phenomenon would also occur with perfect mics, so
one
can't use such an experimental outcome to draw a conclusion on Gary's
case.
His AT mics may well have an uneven off-axis response, but he was
employing two
fig8 mics, so if the AT manufacturing process results mainly in a
systematic-
rather than random frequency response skew in the mic patterns, there may
be a
fortuitous "close-tolerance unevenness-matching" :-) between M and S
mics, that
would provide a mitigating effect.
The drummer was actually pretty close to halfway between the M and S
patterns, so if it was off axis it was probably the same for both. But on
the stereo call out test I first noticed this, my voice would go where it
belonged but the clicks on my rosewood sticks would go toward the center
more.
An ideal Fig8 MS with -3dB S gain equates mathematically to a Fig8 XY pair
splayed at ±35.3°. That would have a Sengpiel SRA of ±47.7° (with the
ambiophonic region beginning beyond ±54.7°). The front desks subtended an
angle
of ±50.2° to the mic array, and the drummer lay within that angle. So it
seems
unlikely that the drummer's wide positioning contributed to the perceived
weird
imaging.
This agrees pretty much with what I am hearing in playback. The extreme
channel material is in the Dolby zone kind of beyond the left or right
walls. I am now using S as 6 dB down for that reason. This varies with each
session I suppose, depending on how perfectly I balance the channels during
recording. The indicated knob position is not accurate. I just balance the
channels on recording, then take care of the M to S ratio during post.
I can't listen with any Dolby surround set-up, but I'd first suspect the
dismal
room geometry and reflections as the main culprit for any imaging
anomalies
(Fig8's might actually have helped here against that the low ceiling?)
Actually,
I didn't find the image shifting very distracting...and thought Gary did a
pretty credible job, considering the tools he had and the hall he had to
contend
with.
But wow, those heavy mics supported by that lone, dinky stand-base
thread!...that does make me shiver. Also, those Fig8 mics may be
vulnerable to
stand-borne resonances. And perhaps consider relocating the bass amp, not
the
player, to a more central position?
Oh, believe me, some additional training will be required for him. He can't
hear his levels very well, so between tracks he turns it down, and for each
track he turns it all the way up again. I am going to have to try some
stealth training to get him to put a mark on the knob and set it by eye to a
reasonable level.
On the mike stand, you may be right. Here is a better shot of the MS
bracket:
https://s3.amazonaws.com/masters.gal...cac6a5ae4547c4
https://s3.amazonaws.com/masters.gal...0bd5296857c590
I know, I know, TinyURL but I haven't got time to mess with it.
I have been looking for a one piece MS microphone but not impressed with the
reviews on them or the prices. Maybe e-bay could help.
Gary