Yes Barry already sent me the sengpiel link
If only two mics... ?
- Thread starter Emmathom
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Perhaps not surprising there aren't many French results, then
I think i have my preferences set to US / English, just to get more (useful) results, despite not living there.k brown
Well-known member
Humorous anecdote: I'd heard about a church in my area that had good acoustics for recording, so I dropped in one day to see what it looked like, and lo and behold there was a session going on and it was Marc and Joanna! He was extremely gracious and without my asking, invited me to sit in and observe them at work. Nickrenz remained intensely focused on the score - they were recording her daughter's string quartet.
The humorous part was what I noticed he was using for mic pres: the direct outs from a Mackie 1202! When he saw my rather slack-jawed expression, he offered: "They sound great.". Direct outs straight into the SADiE. His backup was a portable Denon DAT machine (tells you how long ago it was).
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Barry Hufker
Well-known member
When I met Marc he was using a Gately mixer he had built from a kit. I don't know that she minded the sound but Joanna hated that he was using something that didn't seem fully professional. Years later he was using a Studer mixer when doing digital recordings for the SLSO.
k brown
Well-known member
This would have been about 1993, so don't know what mixer he using at that time; since it was a string quartet, it was just an omni pair to the Mackie pres then to the SADiE, so no mixer needed; the mixer part of the Mackie wasn't used.
https://artmusiclounge.wordpress.com/2020/12/14/the-angeles-quartets-haydn/
I also got a kick out of the fact that he was using AR Powered Partners (remember those?) as PB monitors. He also noticed me quizzically eyeing those and simply said "Just noise-makers" - man of few words. He famously used trusted headphones for actual monitoring and balancing, not speakers.
Attached is excerpt from Gramophone's review.
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cfanzalone
Well-known member
To Emmathom, and others. Yes, Earthworks is known for 'measurement mics'. They make many models...as I recall, the QTC1 was re-named QTC40...A great mic with hi-frequency characteristics (flat up to 40KHz,) BUT it stands alone vs the QTC30 and QTC50...I'm not sure why, but the QTC40 is the mic for music, not just measurement. I'm of the David Blackmer (Founder of DBX and Earthworks) school that, although humans can hear only to 15K or so...18-20K if you're a child,...I believe and FEEL that the human body perceives far greater than 15K. (I'm not starting a debate here, I'm simply answering questions!!!!!!!)
As for Sahi's 'Little Blondies' ...I met Sahi when he first came out with his mics. They are used now in concert halls and opera houses around the world...Look up on GS " Anyone else using Sahiaman's Little Blondies?" and other threads ...I believe he has a website and is accessible on Facebook...I got mine in 2013 and will never sell them...I saw a pair go on Reverb.com for $255.00.
Last, my experience on multi-micing is that one ALWAYS has to experiment...No 'array' is absolute for any and every venue. Even close micing a singer...sometimes mm distance or a slight degrees off-axis makes a huge difference...Lean by theory, but practice with your ear!
Blessings to all
As for Sahi's 'Little Blondies' ...I met Sahi when he first came out with his mics. They are used now in concert halls and opera houses around the world...Look up on GS " Anyone else using Sahiaman's Little Blondies?" and other threads ...I believe he has a website and is accessible on Facebook...I got mine in 2013 and will never sell them...I saw a pair go on Reverb.com for $255.00.
Last, my experience on multi-micing is that one ALWAYS has to experiment...No 'array' is absolute for any and every venue. Even close micing a singer...sometimes mm distance or a slight degrees off-axis makes a huge difference...Lean by theory, but practice with your ear!
Blessings to all
k brown
Well-known member
For those not around at the time, for the first many years, the Earthworks omnis used the tiny $2 Panasonic electrets (WM-61, or similar). Supposedly Blackmer modded them somehow.
Similarly, the Blondies appear to use cheapy off-the-shelf electret capsules (even retaining the black fuzzy disc on the front). He once claimed to make the capsule himself from scratch, which I absolutely don't believe.
Only thing inside is the capsule, 3 resistors and the XLR (how that works w/o DC blocking caps, I don't know; any guesses how one could phantom-power a 2-terminal electret with just 3 resistors?). These mics seem to be all about putting as little 'stuff' as possible between the capsule's FET and the outside world. The vid seems to be of a very early model; don't how much they changed over time. However, Sahi's stated aim of "one workhorse microphone that did it all." is just ludicrous; no such thing, and never will be. Profits going to St. Jude's a cool thing, though.
_______
It's well known that people (especially males) over 30 or so, can't hear much of anything above 10-12kHz.
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Electret capsules are still condensor capsules, so very high impedance, and therefore need a powered buffer amp in order to drive more than a couple of inches of cable.
The term you want to search for is "ambisonics," it was a method developed by Michael Gerzon in the 1970's to record surround sound in a way which could be processed to match the specific speaker arrangement after recording. Yes, it can be processed for typical 2-channel stereo, as well as multi-channel horizontal surround, and even full sphere surround (with speakers above and below the listeners).
Wikipedia has a thorough overview:
https://en.wikipedia.org/wiki/Ambisonics
https://en.wikipedia.org/wiki/Soundfield_microphone
You can read some of the original Michal Gerzon papers describing that as well as other writings here:
https://www.audiosignal.co.uk/Gerzon archive.html
He didn't modify them but he did select ... though the WM61 was by far the most consistent 6mm capsule. I think they did 'age' them.
When they were discontinued, Earthworks bought up the World's entire stock .. which led to much gnashing of teeth in da DIY community.
Dunno what they use now but I don't think a replacement with similar consistency has emerged.
A HERESY!! Blasphemy to sully the pure output of an Ambisonic mike with digital ju ju
There's a bit more to a good Ambisonic mike than 4 capsules in a Tetrahedron but there's a couple of people on MicBuilders who have 3D printed the Tetrahedral mount.
What's lacking on many 'soundfields' is accurate calibration. Only TetraMic is correctly calibrated and it shows.
If you want to hear what a single Calrec Mk4 or TetraMic can do, have a look at ambisonia.com ... especially recordings by Aaron J Heller, Paul Hodges, John Leonard, Paul Doombusch, Len Moskowitz & Jean-Hugues Roy.
To convert the Ambisonic B-format files to stereo, I was going to recommend VVMic but this seems no longer available.
https://rode.com/en/apps/soundfield-by-rode is OK though I would take some of their claims with a large pinch of salt.
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Actually one of ORTF's problems and even more for XY with cardioids is that it always sounds like mono.
May I suggest you try hyper or super cardioids for ORTF and XY instead of 'accurate' cardioids. Dunno what to suggest as the only good ones I know are the Schoeps at mucho $$$
Maybe a pair of AKG 414 or your favourite finely selectable pattern LDC.
k brown
Well-known member
Well, ORTF and all near-coincident pairs are largely mono below frequencies whose wavelengths are larger than the distance between the mics, which for ORTF is the highest at around 300Hz. Above that frequency the image is formed by both Interchannel Time Difference (ITD) and Interchannel Level Difference (ILD). Below it, there is only ILD, so the separation is quite small.
It's even worse when near-coincident stereo is done with LDCs, most of which lose a lot of directionality below about 150Hz, so you don't even have much ILD at the low end. All the formal near-coincident pairs were designed for use with SDCs.
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