Dirty Digital [sic.]
 

"Don Pearce Needs to be Shot through the Head "

Phil Allison wrote:

I was the one who posted the details of copper mesh, full studio
screening, just today.


Total waste of money and effort. A cage is all that is ever required for
some (not all) guitars.

** That comment had nothing to do with ****ing guitars.


YOU LYING,

ASD ****ED,

CONTEXT SHIFTING,

TROLLING, CRIMINAL

****ING MORON !!!!!!





........ Phil

Dirty Digital [sic.]
 

"Dave Plowman (News)" wrote in
message
In article ,
Arny Krueger wrote:
And that is at 4 feet. If you record 4 trumpets with
one mic, the mic might be 8 feet from the bells of the
horns, which knocks off an easy 3-6 dB.

Close-miking isn't your thing then ?

It depends. Close-micing would be one mic per trumpet.
Normally, a section composed of 4 trumpets would be
miced with one mic, maybe 2.

Distant micing would put the mics a dozen or more feet
away from the trumpets.

Close miking rarely captures the real sound of the
instrument. It may be necessary for pragmatic reasons but
that's all.

Hmm, "The real sound of the instrument". That's a will-o-the-wisp if there
ever was one! ;-)

Musical instruments + musician playing said instrument create a highly
variable sound field. In a live setting different portions of that sound
field are actually captured by various mics and listeners in various
locations.

The variations are probably strongest closest to the instrument, at least
until you are a pretty fair distance away where everything dissolves into
the reverberant field.

Thus very close micing is less likely to capture a realistic impression of
what a musical instrument sounds like to a typical listener.

That's kinda what you said before I started pontificating, right? ;-)

Dirty Digital [sic.]
 

"Dave Plowman (News)" wrote in
message

In article ,
Eeyore wrote:

Nothing to do with clipping - it's just that the true
sound of say a sax doesn't come from the bell. Pianos
not from the strings either. Strings not from the
actual strings. Etc, etc.

So where exactly ?

Well, take a piano. That has a sounding board. So
sticking a mic close to the strings alters the harmonic
balance compared to a more distant one.


You said a mouthful there. I mic the piano at church with a PZM on the lid,
over the center of the strings. The eq curve that makes the output of the
PZM sound like a piano again looks like some well-known mountain, some
place.

That all said, I do pretty well with a certain vocalist's E6 headset mic,
when she's playing her flute.

Dirty Digital [sic.]
 

"Eeyore" wrote in
message

But I'm asking YOU exactly. I did this for at least part
of a living once. I'm curious to hear your approach. In
metres or feet and inches if you prefer.

I generally do the brass section at church (usually 4 pieces in 2 rows)
with a single Rode NT1a at bell height about 4 feet away from the front
row.

We have a solo trumpet who is also our music director, and thus does not
play himself when we have a group that large playing.

When he plays, I don't explicitly mic his trumpet at all. He wears a E6 for
when he sings, and other than that I just use the bleed into the other mics.
For a while I used a NT1a about six feet down range, but it was an
unecessary refinement for live sound.

Dirty Digital [sic.]
 

In article ,
Arny Krueger wrote:
Close miking rarely captures the real sound of the
instrument. It may be necessary for pragmatic reasons but
that's all.

Hmm, "The real sound of the instrument". That's a will-o-the-wisp if
there ever was one! ;-)

Musical instruments + musician playing said instrument create a highly
variable sound field. In a live setting different portions of that sound
field are actually captured by various mics and listeners in various
locations.

The variations are probably strongest closest to the instrument, at
least until you are a pretty fair distance away where everything
dissolves into the reverberant field.

Thus very close micing is less likely to capture a realistic impression
of what a musical instrument sounds like to a typical listener.

That's kinda what you said before I started pontificating, right? ;-)

Yup. It's pretty obvious really, but then amateurs see tight micing on the
TV etc and assume it's the correct way for all occasions. Rather like
those who see their favourite pop vocalist using an SM58 etc and assume
it's the best mic ever made...

--
*Middle age is when it takes longer to rest than to get tired.

Dave Plowman London SW
To e-mail, change noise into sound.

Dirty Digital [sic.]
 

In article ,
Arny Krueger wrote:
Well, take a piano. That has a sounding board. So
sticking a mic close to the strings alters the harmonic
balance compared to a more distant one.


You said a mouthful there. I mic the piano at church with a PZM on the
lid, over the center of the strings. The eq curve that makes the output
of the PZM sound like a piano again looks like some well-known
mountain, some place.

That all said, I do pretty well with a certain vocalist's E6 headset
mic, when she's playing her flute.

Oh indeed. I often use ECM 77s clipped to the bridge on violins when the
chips are down - some approximate string sound is better than none...

--
*42.7% of statistics are made up. Sorry, that should read 47.2% *

Dave Plowman London SW
To e-mail, change noise into sound.

Dirty Digital [sic.]
 

At dire risk of pulling this thread back onto the original topic... :-)

People might be interested in

http://www.audiomisc.co.uk/ddd/Dirty...Delusions.html

Slainte,

Jim

--
Change 'noise' to 'jcgl' if you wish to email me.
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Armstrong Audio http://www.audiomisc.co.uk/Armstrong/armstrong.html
Audio Misc http://www.audiomisc.co.uk/index.html

Dirty Digital [sic.]
 

"Dave Plowman (News)" wrote in
message
In article ,
Arny Krueger wrote:

Well, take a piano. That has a sounding board. So
sticking a mic close to the strings alters the harmonic
balance compared to a more distant one.

Putting the mic at the foot of the sounding board emphasizes the lower
range.

You said a mouthful there. I mic the piano at church
with a PZM on the lid, over the center of the strings.
The eq curve that makes the output of the PZM sound like
a piano again looks like some well-known mountain, some
place.

That all said, I do pretty well with a certain
vocalist's E6 headset mic, when she's playing her flute.

Oh indeed. I often use ECM 77s clipped to the bridge on
violins when the chips are down - some approximate string
sound is better than none...

Again, the eq for that soloist as vocalist -or- instrumentalist is pretty
extreme.

Dirty Digital [sic.]
 

In article , Eeyore rabbitsfriendsandrel
scribeth thus


tony sayer wrote:

Or did you mean that your friends make rooms that are screened against
magnetically induced fields?..

Is 2mm mild steel over say 10 m3 going to do that ?

Graham


So you really think that there are magnetic fields around external to a
top rate studio that are going to produce that field level?.

A NMRI scanner isn't that well screened;)..
--
Tony Sayer

Dirty Digital [sic.]
 

In article , Eeyore rabbitsfriendsandrel
scribeth thus


tony sayer wrote:

Eeyore scribeth thus
Don Pearce wrote:

Can you please go and rad up on this subject, because you are muddled.
There is no "electromagnetic" induction. Induction is a purely magnetic
phenomenon.

http://en.wikipedia.org/wiki/Faraday's_law_of_induction#Terminology

" The phenomenon of electromagnetic induction, connecting the electromotive
force with relation to the magnetic flux through the circuit ...... "

No Graham .. I suggest you investigate further and see that there is an
RF component of EMC..

Then the term is at fault. Are you denying the above definition ?

Graham


The term has been mis understood by your goodself, suggest you look at
the correct European websites..
--
Tony Sayer