phaqu said:Try the old 3:1 rule.
boingoman said:Some people also nudge the tracks until they are time-aligned, which cuts a lot of cancellation.
I use it even on guitar cabs. If my 57 is up on the speaker edge, the 421 is usually 3-6" away (from dead center). Granted it is a different "sound " comming from the 2 different mic placements ( the cone and the edge), but I have yet to have any serious phase problems with that mic placement. But I also try to use just 1 mic on the cab if I can get away with it.boingoman said:Not really applicable to this particular situation. You gotta just move the mics around until the sound is acceptable, there will always be some cancellation with two mics at different distances on the same source. Some people also nudge the tracks until they are time-aligned, which cuts a lot of cancellation.
superbeatballer said:Set the pan of each mic to center. Solo one of them and check the levels. Bring the other mic into the mix and the check levels. If the output dropped with the mics combined, you have a phase problem.
When the opposing signals are summed, they push against eachother causing a null. If the null frequencies occupy portions of the louder dynamics, it will be perceived as a drop in energy/volume.Brackish said:Why does the volume go down?
Do you mean 3-6" to the side, not back? That's why. No appreciable time differences.phaqu said:I use it even on guitar cabs. If my 57 is up on the speaker edge, the 421 is usually 3-6" away (from dead center). Granted it is a different "sound " comming from the 2 different mic placements ( the cone and the edge), but I have yet to have any serious phase problems with that mic placement. But I also try to use just 1 mic on the cab if I can get away with it.