EmmR- Thanks! It is most certainly oddball. I've very much enjoyed working through its evolution over the years and documenting that here. Not quite of the same complexity as some of your impressive contrivances though!
b9audio- This array was developed first and foremost for multichannel (7-9 ch) surround playback, yet I've found that most of the fundamental array design choices are directly applicable to producing quality 2-channel stereo output with an especially useful degree of flexibility given the odd constraints under which most members of this forum are recording (non-professional live-performance audience perspective recording). For years I've been intending to make various samples and full recordings available here.. the absence of which is admittedly appalling. As tapers we are something of an odd bunch, and I suppose this is my particular peculiarity. Along with the high degree of flexibility these arrays provide comes a necessity for proper mixing, and I feel a strong responsibility for doing that properly to really do the recordings justice. I hope to move forward and get back to proper mixing again, yet life pulls in multiple directions and I don't currently have my editing system or monitoring setup operable. I really need to work toward getting that in place again and am currently listening through headphones to the 2-ch monitor mix direct out of the recorder(s). I've much respect for other tapers who do get their recordings out!
The primary aspect of this array specific to 2-ch stereo was the addition of the coincident figure-8 to the single center microphone position to form a Mid/Side pair. This mostly addresses differences in imaging between 2-ch (L/R) and 3-ch (L/C/R) front playback arrangements. With 3-channel playback the near-spaced L/C/R supercards are routed directly to the three front speakers and the figure-8 goes unused (at this point). That I introduce an additional (8th) channel for 2-ch stereo only is ironic, but the M/S center pair provides a very useful degree of central image manipulation and helps convey a sense of 3-dimensionality otherwise lost when reducing everything from 7 playback channels distributed all the way around a listener down to 2-channels. I've stated before that in some ways making a really good stereo recording is more challenging than making a good surround recording since it represents a further abstraction from reality, requiring additional care in crafting the illusion, whereas with the additional playback channels those aspects naturally become less-masked. Likewise, although making an excellent mono recording requires less gear and setup complications, it represents an even greater challenge in crafting a really good sounding, convincing illusion.
kuba e- I'm no RFI expert by any means, but I don't think electrically interconnecting the antennas and stand will make an impact on radio interference. Some unbalanced microphones and cables are more susceptible to RFI than others. Long ago I had some SoundPro's omnis that were extremely RFI sensitive in comparison to the miniature AT's and DPA I was also using. I'm not actually sure if there is good electrical connection between my antennas and stand or not. There is no direct electrical connection between the signal chain and the bits of supporting kit. Best for RFI rejection would be a balanced signal run from the microphones to recorder, but as you can see the only balanced run I currently have is for the figure-8. I just eliminated the other by moving the XLR adapter for the center directional mic from the microphone down to the recorder itself. I did so to streamline things aloft, recognizing that I would be increasing susceptibility to RFI somewhat by doing so. But I've not had RFI problems with the other channels, making it an acceptable trade. There is no way I could arrange to have all seven XLR adapters up at the microphones so as to provide balanced runs up the stand without things becoming too heavy and bulky aloft.
Certain unbalanced extension cables and connectors will be more susceptible to interference so you might try changing those out and keeping them as short as possible. EFI rejection in unbalanced runs represents a particular flavor of sorcery, wish I could be of more help on this.
rocksuitcase- you are a big inspiration for me to work toward getting these recordings out! Marco Benevento last Saturday was a great show. Super windy out there that night though, and because of that this recording needs even more work than most. The wind protection provided by the BAS windscreens was simply insufficient. I was listening last night using headphones directly out of the recorder, going back and forth muting the figure-8 and various combinations of the supercards as required. As expected, the fig-8 was most affected, but I also noted more wind noise in the in the center and rear facing supercards than the L/R supercards, presumably from wind leaking in through small gaps in the rear-cuff of those due to my mounting arrangements for those channels. Will consider ways to improve that. As expected, the sphere-mounted omnis with the thinner foam screens fared far better, with wind rumble only apparent in a few spots.
Spyder 9 (Dan) also recorded using Nak1000 cardioids, but I've not checked with him since to see how much the wind affected his recording. I started with my array up quite high, which works best there when wind is not an issue. I kept lowering the stand partly due to potential blow-over theat and partly in a futile search for less intense blowing down low, ending up at around about 7', same as Dan's rig.
Keep your ears open for the opening act, a local Miami instrumental band named Electric Kif, one of my favorite regional acts for several years that is astoundingly good and is starting to gather wider acclaim. I think you'd really dig 'em.