Photo below [edit- found 'em, see first photo next post] shows a similar spaced omni + separate coincident setup for recording Charlie's trio back in 2010 at a then brand new performance space here. Stage arrangement was Eric Kalb on drums, left side with kit facing sideways; Charlie center on a stool (bass amp directly behind, top-strings fender slightly to the right); Michael Williams on bass trumpet on the right side (rather quiet, a challenge to bring up enough in my mix, louder out in the house).
At the time I was into using miniature omnis on thin stalks paced across the stagelip, and I'd gaff taped four DPA 4060s to aluminum TIG welding rod stock and bent each into a curve, with the intent of gaff taping them to the stage lip front edge. That would've placed the mics about 2' above the stage, each spaced about 3'-4' apart, for about an 11' total spread across the front, nearly invisible to the audience. The theater manager didn't want any mics protruding above stage level, so I ended up just laying them down onto the stage surface instead, with about the same spacing, and pointed them out to Charlie and the guys (who were standing off stage in back) so they hopefully wouldn't step on them! It was also my inaugural run of the Tetramic, which the manager allowed me to just peak over the edge of the stage at the center, between the omnis. So that's what can be seen in the photo.
It was interesting listening to the omnis as individual pairs. Considered as individual spaced omni pairs, the mic arrangement sort of had the left-most two omnis centered on the kit, the center pair on Charlie, and the right pair centered on the horn (though the level of the often muted horn was low and Charlie's amps competed with over the horn on that side). The center pair alone would have worked pretty well on it's own but the combination of four was better, and provided a lot of mix flexibility which helped balance things. I could bring up the horn more, the clean drum kit attack and pan across the stereo image, and massage the overall balance of all three musicians. It was fun but a challenge to mix because I recorded the four omnis to separate R-09 recorders, one for the inside pair, the second for the outer pair, and those needed to be carefully stretched and synced. I distributed this locally on CDs, but never upped it anywhere. I can "cloud it" up somewhere for download if you guys care to hear it.. and if someone wants to up it to the LMA that's totally cool by me.
After all the syncing and mixing I moved on to something else and never did anything with the separate Tetramic ambisonic recording, recorded to the R44, which is why I needed to align & post-sync the files from the two separate R09s.
Hmmm, can't locate that year of recordings on the backup drives here at work, will have to look for the photos and recording once I get home tonight.
Topic: 3 foot split omnis stage lip Hunter and Amendola? (Read 13554 times)