Alright, partly exploring using the outdoor oddball techniques indoors, I busted out two different open oddball rigs indoors last weekend. Both in the same medium-sized room- Revolution Live in Ft Lauderdale, FL with decent but not super-great sound, generally too much subs; same recording location- back of pit, just in front of the board, DFC, AUD only (room sweet spot is about 15' forward at the center of the pit floor); same music genre- Southern rock-ish; two different but setups. The first a 4ch indoor oddball setup I've run there in the past, the second my now-standard outdoor 6 channel oddball setup which includes the wide omnis.
1) Friday night- The Magpie Salute.
After the recent discussion of indoor use, I was going to take the already-wired-and-ready-to-roll outdoor 6-channel oddball rig, but chickened out. Partly because an old friend who used to tape was going and I know he'd be excited by the Microtech Gefells, so I decided to use those along with a cool clamping arrangement which has worked well for me in this room previously. And partly because its been a while since I was there and wanted to run something I could be sure would fit in the space without the 5 or 6' spaced omni spread.
Oddball 4-microphone 3-point stereo array variant (spaced supercards + center M/S pair) consisting of:
Pair of Microtech Gefell 310 supercardioids spaced about 2' apart, angled about +/- 45 degrees (pointed outside of stacks + center Mid/Side center pair- Microtech Gefell M94/MV692 cardioid Mid / Naiant X-8S bidirectional Side, about 15" forward of the supercardioid pair.
Visually, one of the more interesting things about this setup is the "3-pointed star mic bar" and its angled clamping arrangement.
Mics are arranged in a 3-point triangle formation, dictated by the unique mounting arrangement I was using, which consists of an inverted tripod foot base as 3-arm mic bar with mics attached where the 'feet' would be (I've covered this earlier in this thread I believe, definitely in the on-stage recording thread where it is used right-side-up on the stage). Its a common 3-leg steel folding light-stand base, which comes provided with a tapped 3/8" hole near one foot. I bought it bundled with the telescopic extension arm it's in use with here and drilled/tapped identical holes in the other two legs so I can attach mic-mounts to each 'foot'. Here is is basically just fliped upside down and clamped to the staircase handrail with a super-clamp. The soundboard is at the top of the staircase, which is roped off to block access from the pit floor. The angle of the staircase handrail cantilevers the mics up and out into the room over the staircase somewhat. Mics are approximately 8' above the pit floor. Looks large and imposing in these flash photos, but its actually not very visible in the venue- out of sight-lines for these in front below, as well as those in back watching from above.
Initial headphone listening assessment via Senn HD650 direct out of DR-680's monitor mix - Good. Mid/Side width setting on DR-680 for center pair at about 20 (with a range of 0=100% mid to 100=100% side, and the Side channel recording level set for about the same modulation as Mid channel and L/R supercards). Needs EQ to reinforce the bottom in addition to general sweetening, and probably benefit from some multiband compression. Sort of wish I had the omnis going too with this, but from experience I know I can EQ the Gefells to get much of the bottom octave impact.
Spyder9 also recorded and his mics are also visible in some of these photos atop the high pole past the other side of the staircase, flying over the board rather than under it (his preferred standard location there, which is better protected and isolated from audience chatter). Spyder ran a Nakamici 1000 cardioid pair, near-spaced PAS (approx. 6" / 25 degrees), mics high above the floor.
Check out the rakish clamp angle, rather cool in a 'Klingon Bird of Prey' kind of way-