On Sun, 01 Oct 2006 23:06:40 +0100, Nick Gorham
wrote:

Keith G wrote:


I don't - they bear virtually no relation to what I hear for real!! (Despite
the Behringer is a million % better than the little lapel mic!!)

I think I know what at least part of the problem is here - I aimed the mic
at the 'other' speakers and haven't moved throughout all the recordings. I
guess it was therefore well 'off axis' for B & D, although I thought it
probably wouldn't matter much. (How do you 'aim' a mic when the bass is
coming off the rear wall...??)


Ahh, just a mo, don't "aim" the mike at the speakers, AFAIK, its a omni,
but should be positioned pointing up. I may have misled you saying
position it in line with the drive unit. What I meant was have the end
of the mike in line with the axis of the speaker. Though given the size
of the room, it will be getting as much from the room as directly from
the speaker. Part of the reason its a thin pointy shape is to avoid
having surfaces near the capsule that will cause unwanted ripples in the
response. Idealy have it on the top of a mike stand, or as I suggested
suspend it from above by the cable.

Or I could be wrong. Don?

Pointing at the speaker, in line with the drive unit should be exactly
right, although given the small diameter of the mic (as you say), it
shouldn't make much difference if it is pointed somewhere else. The
dead flat calibration curve is taken exactly front-on, though. And the
published response of the speaker will be in line with the driver's
centre too.

d

--
Pearce Consulting
http://www.pearce.uk.com