Post by vikingblues on Oct 25, 2015 19:11:39 GMT
Thanks Iain, thanks Andy - keeping it simple sounds good.
At the moment I will stick with my dual arrangement of the two CK-1s with their respective Omni and Cardioid capsules purely on the basis that my ears think it's the best sound I've found yet.
I have tried two cardioids but my current feeling is that having one mic with an Omni seems to reveal a bit more of the real complexity of sounds that arise from an acoustic guitar .... either that or I just have a personal preference for the sound.
But I will continue to do experiments with two cardioids every so often - maybe I haven't yet found quite the best angles for the two cardioid mics for the best sound.
I will study the book and if anything he says causes me to think that there are flaws in that arrangement I will look at what is said and try making amendments on that basis to see if it adds anything. Also of course if any of the suggestions are things that can be done in addition to the current arrangement I will look at trying them too.
I'm finding that location of the microphones, or more pertinently where the walls of the room are in relation to the guitar does make a difference. I believe the Omni capsule in particular is picking up those room sounds that cause that variation.
For example I wouldn't say that having a wall behind the microphones makes the sound better or worse - different certainly, but it will depend on the style of the music and playing as to which sound suits best. The attempted "composition" I put up in the PD today happened to sound better with the wall behind the mics - I also tried with no wall anywhere near and felt it wasn't as good a sound.
Mike Senior mentions in his book a principle that I do want to follow - I certainly want to make the sound that is initially recorded to be as good as possible, because it is needless complication and extra work to have to try and repair a substandard sound at the mixing stage.
Mark
At the moment I will stick with my dual arrangement of the two CK-1s with their respective Omni and Cardioid capsules purely on the basis that my ears think it's the best sound I've found yet.
I have tried two cardioids but my current feeling is that having one mic with an Omni seems to reveal a bit more of the real complexity of sounds that arise from an acoustic guitar .... either that or I just have a personal preference for the sound.
But I will continue to do experiments with two cardioids every so often - maybe I haven't yet found quite the best angles for the two cardioid mics for the best sound.
I will study the book and if anything he says causes me to think that there are flaws in that arrangement I will look at what is said and try making amendments on that basis to see if it adds anything. Also of course if any of the suggestions are things that can be done in addition to the current arrangement I will look at trying them too.
I'm finding that location of the microphones, or more pertinently where the walls of the room are in relation to the guitar does make a difference. I believe the Omni capsule in particular is picking up those room sounds that cause that variation.
For example I wouldn't say that having a wall behind the microphones makes the sound better or worse - different certainly, but it will depend on the style of the music and playing as to which sound suits best. The attempted "composition" I put up in the PD today happened to sound better with the wall behind the mics - I also tried with no wall anywhere near and felt it wasn't as good a sound.
Mike Senior mentions in his book a principle that I do want to follow - I certainly want to make the sound that is initially recorded to be as good as possible, because it is needless complication and extra work to have to try and repair a substandard sound at the mixing stage.
Mark