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To my ears and IMHO.....

I respect your opinion. I've been recording since I was about 17. It is my experience that omnis are only best when you have TOTAL CONTROL in a dead acoustic space. There they are wonderful. When ever I have tried to use them, I get too much boomy bass almost reverberant bass that overshadows the whole recording. Mind you I have to record in gymnasiums, school auditoriums, band rooms, and spaces that are not DEAD and I have no control. I don't have access to a recording studio designed by an acoustic engineer or architect. And I have some condenser mics that I can change the polar pattern from omni to cardiod to fig 8. Omnis are also notorious of picking up everything; the HVAC vent/motor blowing, the noisy kitchen down the hall, folding chair rustling, music page turning on the stands, musician shoe shuffling, semi tractor trailer rigs rolling past outside, car horns, low flying air craft, jack hammers while i am trying to record MUSIC. Using a cardiod has solved most of that. With omnis you have to back them off not to pick up the music page turning or the shoe shuffling or the throat clearings. After you back them off then the music ensemlble sounds like they are in the next county. I realize there are fringe frequency effects of the polar pattern of cardiod mics. But the sound seems nearer and more defined to me and not as distant. IN fact there are some recent recodings on CD by engineers who insist on omnis that sound like the ensemble are in the next country. Inverse square law and all that. I've had my hearing checked so don't tell me that I'm just old or my motorcycle has damaged my hearing. I wear earplugs then and when I am forced kicking and screaming to rock concerts. Cheers! Ray

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