Taperssection.com
Gear / Technical Help => Microphones & Setup => Topic started by: Panthro10 on May 06, 2009, 11:10:05 PM
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I found this applet.. Being new to taping, it helped me get a better picture of what is going on with different caps/setups. But I do not have enough experience to comment on its accuracy. Maybe some of you do?
http://www.sengpielaudio.com/Visualization-NOS.htm (http://www.sengpielaudio.com/Visualization-NOS.htm)
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I think it's pretty cool myself. Thanks for the link. i'm gonna play around with it tonight.
Mako
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There is another one here
http://www.hauptmikrofon.de/ima2-folder/ImageAssistant2.html
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nice sites, ty for sharing
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This is awesome.....the difference between DINa & XY with hypers is crazy!
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Thanks for the links
What is "Orchestra angle (deg.)"?
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this is very nice
thanx!
if you watch the coloerd bars and the spaciousness they represent
you notice a huge diffenrce in the image
between
ORTF
and
XY 90
it represents this well
also shown
in Stanley R Alten's book Audio In Media
most library have it or can get it in a inter library loan
if you check it out
get at least the fourth edition - I'm sure there is a newer ed. as fourth came out in 1994
-- Ian
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Thanks for the links
What is "Orchestra angle (deg.)"?
The angle into which the sound sources fit as viewed from the recording position at the venue. A critical element of the virtualization. This little applet is a great tool for visualizing how the Stereo Zoom approach works.
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Thanks for the links
What is "Orchestra angle (deg.)"?
The angle into which the sound sources fit as viewed from the recording position at the venue. A critical element of the virtualization. This little applet is a great tool for visualizing how the Stereo Zoom approach works.
Thanks.
So for PA situations it would be the angle between the mic's and the PA's [e.g., 45+/- sweet spot FOB]?
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That's the magic question!
And one that I often wonder about. If we're talking about acoustic instrument sources on a stage then it's easy to envision little colored lines as musicians, or sections of an orchestra. The application is then rather straight forward. Concert recording with strong FOH reinforcement is a strange case. How this applies to FOH reinforced music is not entirely clear, but raises some questions:
>Should I consider the FOH stacks as the outside limits of the 'orchestra angle'?
>Should I consider the width of the band on the stage as the 'orchestra angle'?
>Does it matter if the soundboard is mono or stereo?
>Do I want the outside-most colored lines (the sounds located at the outer edges of the recording angle) to come directly from the speakers? or a bit inside?
>What is the real significance of an uneven distribution of the sources across the stereo playback image?
>What is the real significance of an uneven distribution of the sources across the stereo playback image if nearly all the sound is coming from two points at the outside limits of the 'orchestra angle'? and if that sound has a large mono-content?