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In Reply to: RE: Some ramblings about mics and speakers. posted by Kal Rubinson on April 30, 2016 at 06:53:17
Hi ! thanks a lot for the very interesting link.
Let me rephrase.
For me omnidirectional mics are not good if the playback is done with traditional speaker only with frontal emission, like it is in almost all cases.
Omnidirectional speakers are very rare and very difficult to place in a room.
Cardioid microphones that, as i read in the Shure's pages, are most sensitive to sound at the front and least sensitive at the back, would be for me a much better choice.
I go on reading " Their unidirectional pickup makes for affective isolation of unwanted ambient sound and high resistance to feedback when compared to omnidirectional alternatives. Cardioid microphones are essential when considering a mic for live performance "To end the ramblings if i had to make a recording to be played back on traditional front radiating speakers (like in the 90% of cases) i would use mic which capture only from the front. The soundstage rendition would be much much better IMHO.
Thanks a lot again.
Kind regards,
bg
Edits: 04/30/16 04/30/16Follow Ups:
"omnidirectional mics are not good if the playback is done with traditional speaker only with frontal emission"
Sorry, have to disagree on that one. When tracking, ALL mics are heard by the engineer using conventional, moving-coil, front-firing speakers in sealed or ported boxes. You will not find dipoles or infinite baffles in any control room. The Fine's great Mercury recordings were all done with omnis, and sound terrific on any speaker. The design of the playback speakers has nothing to do with the selection or placement of mics - not ever.
You pick *and place* mics to best capture the performer, the instrument, and/or maybe the room. Cardioid pattern mics are the most common, but there are times when omnis or figure-8s do best. Omnis *or* cardioids are often used as room mics. Figure-8 mics, often ribbons, are great on hi-hat. (Sorry, I don't know what else they're used for; I've only used them on hats.) Engineers pick mics not only for the pattern, but for the frequency response around the angles of the pattern (e.g. non-flat required for Decca tree.) They will also take into account sensitivity and loudness-handling - many condenser (s/s and tube) and almost all dynamic mics can handle very high SPL; ribbons not so much.
For mic placement, there are infinite possibilities Common approaches are: close (individual instrument) micing, X-Y, mid-side, spaced omnis, Decca tree, Blumlein pair.
Don't read too much into promotional literature. Yes, cardioids are good for sound reinforcement at live performances, but omnis are often used when *recording* acoustic instruments/vocalists in a live performance in a good hall. For capturing amplified live music, close micing with dynamic and condenser cardioid mics is about the only way to go.
The technique and art of mic selection and placement can take years to learn, and is fascinating. With my 300-odd days of studio time, I've just had a glimpse of it.
WW
"A man need merely light the filaments of his receiving set and the world's greatest artists will perform for him." Alfred N. Goldsmith, RCA, 1922
There are no "traditional" speakers with only frontal radiation (regardless of their emissive sources) unless they are in-wall.
Now, there is another issue. If the mics transduced only sources from the front and your speakers had only frontal radiation (all theoretical), the only source of ambient field during playback would be from the unavoidable reflections in your own particular room and nothing like that of the space in which the performance was recorded.
" There are no "traditional" speakers with only frontal radiation (regardless of their emissive sources) unless they are in-wall "
Ok. But if you walk around a speaker (i have done this) in a good listening room the lateral and rear emission are much much lower than the frontal emission.
I am completely for speakers with controlled emission.
I love absolutely horn speakers (when well done) and they have controlled emission.
Let me be a little silly ... in my stupid mind i could imagine a mic with a horn being the best method for a signal played back thorugh a horn. To keep the patterns (recording and play-back) absolutely the same between recording and play back.
If you see what i mean.
" Now, there is another issue.
If the mics transduced only sources from the front and your speakers had only frontal radiation (all theoretical), the only source of ambient field during playback would be from the unavoidable reflections in your own particular room and nothing like that of the space in which the performance was recorded "
Yes this i understand and actually i would do anything to avoid room reflections. I like the analogy with the bats. They see object if the object reflects sounds. Put them in anechoic chamber and they crash against the walls. Instead if you want to see them getting crazy put them in a reverberant room.
I would do anything to tame reflections.
They are devastating for soundstage.
However i would try to do some recording with cardioids .. i am very curious to listen then through the speakers the results.
Thanks a lot again.
Kind regards,
bg
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