stereo mic techniques for multipatterns

  • Thread starter Thread starter Supercreep
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Supercreep

Supercreep

Lizard People
I've been using xy and recorderman and coincident pair techniques.

I just picked up a second AT4050 and am ready to try some other techniques.

Do a spaced pair of omnis need to be equidistant from the snare or something? How the hell does ORTF work?

Are there stereo techniques that are intended for specific instruments?
 
I'm not sure I know what ORTF is.

But an often forgot about stereo technique that I perform with my 4050 is the Mid-Side technique.

Take your 4050 and set it to the figure 8 pattern. Face the diaphram perpendicular to the drumset, centered from right behind the drummer. Then take a cardioid mic and place that right below the 4050 pointing towards the kit.

Once recorded on to your DAW duplicate the 4050's signal and reverse the phase on your new duplicated track. Then pan the tracks left and right. Leave the cardioid mic centered... pretty cool sound, its different. Try it out, let me know how it goes.
 
ORTF, spaced omnis, jecklin disc

Supercreep,

Here's a picture of ORTF. The whole article is pretty good with some mistakes. I learned x/y at 110 degrees with 90 as an option. ORTF is similar but with the mics spaced a little bit apart. One above the other in the picture. You can also use another variation on x/y where the mics are spaced 5 inches or so apart horizontally. I'm not sure what that's called.

http://homerecording.about.com/od/microphones101/ss/stereo_mics_3.htm

A stereo technique I like is spaced omnis. Generally speaking the mics should be at least half as far apart as they are distant from the source. so if I'm 20 feet from the stage I want to be at least 10 feet apart. Much closer and it's mono. Wider can give you a wider stereo pattern but widths greater than the distance from the source will give you more of a stereo effect than a stereo image.

Omni overheads are an example of a spaced pair. You can also use cardiods in a spaced pair but it's trickier. Not as reliable. Still when I'm playing at a coffeehouse or restaurant using cardiods allows me to minimize room noise compared to omnis.

My favorite stereo technique for acoustic instruments or small ensembles is the Jecklin Disc. Here's how I made mine.

https://homerecording.com/bbs/showthread.php?t=223241

Both of these techniques are for recording the room. The x/y technique uses cardiods and will be more focused on what it's pointing at as will cardiods in a spaced pair.

Thanks,

Hairy Larry
 
Thanks, guys. I guess I'll have to do some testing. For drums, would you start with an omni on either side of the kit up above the cymbals looking at the snare, or would you get out in front of the kit and use M/S?

Are there contraindications to using either method for acoustic drums?

Also, I usually align the transients on my overheads and room mics with the snare.. Should I no longer do that? I keep hearing that omni mics eliminate phase issues, but don't really understand why that is so.
 
I like spaced figure-of-eight pairs on OH personally, but Blumlein is great too.

Frank
 
Supercreep said:
How would you set up either on a drumkit?
Click to expand...

As OH's...or am I misunderstanding your question?

Spaced pair for the figure-of-eight, equidistant from the snare.

Blumlein is...well, Blumlein....works best as a room pair for me...too close to the kit otherwise.

I have a pair of big 17' boom stands on dollies, plus a few pair of stereo mic bars...so either pairing is easy to set up and adjust.

Frank
 
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