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Author Topic: Oddball microphone technique (OMT) - part 3  (Read 32590 times)

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Online EmRR

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Re: Oddball microphone technique (OMT) - part 3
« Reply #225 on: February 19, 2021, 12:20:08 PM »
Yeah that sounds like a potentially great option for times lacking spaced flankers.  Will check that out, I've got a number of things I did with native B format and AB omni in which the W and the spaced are all the same omni type, should make for a tight comparison. 
Mics: DPA 4060 w/MPS 6030 PSU/DAD6001/DAD4099, Neumann KM 131, KMR 81i, Oktava MK 012, Sennheiser MKH 105, MKH 20, MKH 30, MKH 40, MKH 800 TWIN, lots of other studio appropriate choices
Recorders: Zoom F8n, Sony MZ-R50, portable MOTU based multitrack DAW for client work

Offline jcable77

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Re: Oddball microphone technique (OMT) - part 3
« Reply #226 on: April 14, 2021, 12:30:28 PM »
GB, any positives or negatives on running maybe two split 10' M/S's, or M/S with split omni's on stage? Been thinking about trying these lately.

Offline Gutbucket

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Re: Oddball microphone technique (OMT) - part 3
« Reply #227 on: April 14, 2021, 04:12:04 PM »
M/S in the center + split omnis to either side has worked well on stage for me a bunch of times.  It's a quintessential 4-channel OMT setup as far as I'm concerned, working well both on stage and from the audience for me.

Somewhere I have a Charlie Hunter recording I made way back when using the TetraMic in the center between 4 split omnis.  It was the very first time I ran the TetraMic, so I retained the four omnis I had already planned on using.  I recorded them to separate recorders and remember playing around with both to compare, but never synced them up and only used the 4 omnis in the mixdown I provided to a video taper, then never went back to revisit possible combination of the two.  I should go back and dig that up.

Two split M/S pairs is an interesting approach I've not tried.  I have read of its use by someone for live classical recording - reportedly being particularly useful when there is a center isle that cannot be blocked with a centrally placed stand.  That's probably when I'd consider it instead of having something in the center.  As I recall, the mixing was described as panning the outermost channels from each pair hard Left/Right, with the inside channels from each pair being summed and panned center.  A split M/S pair using omni Mids is sort of a logical extension of a pair of split omnis alone, and should provide additional flexibility afterward.  I think how well it might work may hinge on how well the inner-facing channels sum, which is sort of a mono-compatibility question.   Might have to just give it a try and see.  If you are able to get a soundboard feed you will be better protected from potential "hole in the middle" if the summing of the inner-facing channels doesn't work out well.

I've only run twin M/S pairs once, but they were front and rear-facing MS pairs between spaced omnis, done on a whim one day at a fest by adding coincident 8's to the center front/rear facing directionals I already had in place. I don't think I ever got around to listening to the rear facing pair, recorded to a separate recorder.  I should dig that up too.  I went on to modify my regular setup by retaining the front facing M/S pair, yet went with a near-spaced rear-pacing pair.  However, I've recently been thinking about that again as a way of streamlining what I have aloft while retaining stereo rear-facing pickup of ambience/audience/room. 
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Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<< (note: This is a 1st draft, now several years old and in need of revision!  Stay tuned)

Offline jcable77

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Re: Oddball microphone technique (OMT) - part 3
« Reply #228 on: April 14, 2021, 04:46:44 PM »
Thats kind of what I was thinking with the two m/s's, pan outers far left and right, while lightly panning the inner sides. With omni mid's, I feel like it could give a real nice wide stereo image that could be fun to play around with. The other option using 4022's as mid's, they seem to have, at least to my ears, almost a subcard off axis response. Not as directional as other cards Ive used. Going to give both a try soon and see what I come up with

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Re: Oddball microphone technique (OMT) - part 3
« Reply #229 on: April 14, 2021, 05:26:22 PM »
Please let me know how it goes.  I'd try various ways of panning the inner facing channels.  Both panned center is one obvious thing to try, but also try them panned part-way to their own side, as well as part-way to the opposite sides.  Also, depending on the arrangement of sources on stage, it might actually work best with some sort of asymmetric panning arrangement on those inward facing channels.
musical volition > vibrations > voltages > numeric values > voltages > vibrations> virtual teleportation time-machine experience
Better recording made easy - >>Improved PAS table<< | Made excellent- >>click here to download the Oddball Microphone Technique illustrated PDF booklet<< (note: This is a 1st draft, now several years old and in need of revision!  Stay tuned)

Online EmRR

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Re: Oddball microphone technique (OMT) - part 3
« Reply #230 on: April 14, 2021, 08:06:20 PM »
Don’t think I’ve tried 2 MS sets like this, I see a lot of potential problems but I can’t say they are real.  There’s likely a spot it works perfectly, finding it is a different story. 

I tend to to some variation of MS with AB omni most times. Should work well at edge of stage. 
Mics: DPA 4060 w/MPS 6030 PSU/DAD6001/DAD4099, Neumann KM 131, KMR 81i, Oktava MK 012, Sennheiser MKH 105, MKH 20, MKH 30, MKH 40, MKH 800 TWIN, lots of other studio appropriate choices
Recorders: Zoom F8n, Sony MZ-R50, portable MOTU based multitrack DAW for client work

 

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