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Author Topic: Oddball microphone technique (OMT) - part 2  (Read 5951 times)

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Offline rocksuitcase

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Re: Oddball microphone technique (OMT) - part 2
« Reply #105 on: May 18, 2018, 05:56:28 PM »
The XY pair on their own, though, was just too narrow of an image for my taste so I kept the omnis in the mix.

That's a good indication that you are doing OMT right!  Sort of like the inherent balance of a three leg stool.

I didn't listen to the entire recordings, but of what I did I preferred the portrayal of the audience reaction in yours.  More open, natural, less muffled, more spatially correct to my ear.  That's not necessarily with respect to the level balance of the audience, but at least for what I listened to the balance was in no way unacceptable.
I keep marking this thread unread all day today as I wish to comment on that sentence heathen, but am moving so fast today- so briefly- the OMT mix uses the decorrelation aspect of the theory which makes the stereo illusion seem more natural. the psychoacoustic result, to my ears, is random audience noises such as talking or beer bottle drops are de-emphasized in an OMT mix when compared to the straight omni or straight center pair (all other things relative of course).
« Last Edit: May 19, 2018, 10:57:43 AM by rocksuitcase »
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Offline dactylus

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Re: Oddball microphone technique (OMT) - part 2
« Reply #106 on: May 19, 2018, 09:20:58 AM »
I found the comparison of onstage DPA 4006a omnis vs onstage DPA 4015c wide-cards interesting too.  One recording was made on 5/10 and the other on 5/11.  Same band, same taper.  I was very surprised at how much more I liked the omni recording vs  the subcards.

Can you describe what it is you like so much more about the omni recording?

^ I enjoyed both of the recordings but I was sucked into the omni recording by the same strengths of this particular omni pull that you mentioned earlier.  The depth and fullness of the low end really grabbed me and I enjoyed the overall immersive feeling that the omni recording gave me.  The subcards were very powerful in their own right, crisp, clear and in your face, but in this case I enjoyed the total omni effect!




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Offline scottsch3

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Re: Oddball microphone technique (OMT) - part 2
« Reply #107 on: May 19, 2018, 05:37:39 PM »
FWIW I'm pretty sure Scott ran both omnis and subcards on 5/11.  I definitely remember seeing two pairs of mics on the stand.  I have no idea how to get in touch with him (met him for the first time that night), but maybe someone who does could cajole him into posting his other 5/11 recording for you guys...?

https://archive.org/details/gm2018-05-11.dpa4015c.flac16

Here is the 4015 source if it helps to keep the conversation moving along. It’s not going to be an accurate comp since I used the Portico in front of the 788 but the relative soundstage of the recording shouldn't be affected.
Microphones: DPA
Preamps: Grace, Portico, Sonosax
A/D: Mytek

FOH/Archivist - Dazzle Restaurant and Lounge (www.dazzlejazz.com)

Recordings on the LMA: www.archive.org/bookmarks/scottsch3

Offline dactylus

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Re: Oddball microphone technique (OMT) - part 2
« Reply #108 on: May 20, 2018, 09:31:30 AM »
^Thanks Scott.  Did you enable the "silk" option on the 5012 for the 4015 source linked to above??
« Last Edit: May 20, 2018, 12:50:29 PM by dactylus »
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Offline goodcooker

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Re: Oddball microphone technique (OMT) - part 2
« Reply #109 on: May 21, 2018, 12:56:56 PM »
^Thanks Scott.  Did you enable the "silk" option on the 5012 for the 4015 source linked to above??

mmmmmnh, Silk.
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