Topic: 441 xy mount single stand

[weroflu]

a27m is close but shy of 90 degree.

[voltronic]

I can't help you on a mount for these, but I'm wondering what you are recording that you need this for.

Friends don't let friends record in X/Y. It's almost always the worst-sounding stereo array compared to the alternatives, including the other coincident arrays.

[ero3030]

I can't help you on a mount for these, but I'm wondering what you are recording that you need this for.

Friends don't let friends record in X/Y. It's almost always the worst-sounding stereo array compared to the alternatives, including the other coincident arrays.

Up close. Xy is the only way IMO

[Gutbucket]

a27m is close but shy of 90 degree.

Setting up angles on A27M can sometimes be trickly/confusing due to the multiple degrees of freedom, as articulated rotation points are provided by both the A27M itself AND the mic-clips attached to it, along with an additional degree of freedom when the mics are able to be shifted forward or aft in the mic clips.   Make sure you have the mic-attachment lugs of the A27M pointing as far apart from each other as possible, with coincidence of the diaphragms achieved through a combination of convergence angle of the angled mic clips combined with shifting the position of the mics in the clips to achieve coincidence.   

With most mics A27M can achieve X/Y angles significantly wider than 90 degrees in that way.  But that may not work if 441 is unable to be repositioned in its mounting clip.

[Gutbucket]

X/Y has its place, and close-mic'd stereo is in that category. Appropriate when 100% level difference with minimal phase difference is advantageous for whatever reason.  Its not usually the best choice for portrayal of depth, or of an open, reverberant sounding space in which the performance occurs, but its imaging tends toward clean, sharp, and soundboard like, if somewhat flat and dimensionless.

As a stereo mic-configs go, X/Y defines one extreme and spaced AB the opposing extreme.  Just like spaced AB isn't always the best answer, the same goes for X/Y.  I'd argue the same can be said for any particular near-spaced stereo-config as well, each of which aims for something of a slightly different "Goldilocks middle-way combination" that lies partway between the two.  Since the aim of most concert taper recordings is a the balanced overall-picture portrayal of a live performance in front of an audience in a performance space, a near-spaced stereo microphone configuration intended to achieve a bit of both is simplest and thus usually best suited.  Some take it further by targeting each of those component parts individually with separate mic-configs that do each specific thing a bit better and cover for each others short comings in combination, using something like X/Y for the upfront direct-arrival sound image part and and A-B for the reverberant-sound part.

Also.. because the 441 is a super/hypercardioid, the reverse polarity back lobe is likely to produce a bit more depth and openness in X/Y than a pair of cardioids would.  hash-tag: good back lobes are often advantageous in an X/Y pair.