Split cardioid's?

[marc0789]

directional mics are subject to the proximity effect

Proximity effect is the increase in the low-frequency sensitivity of a microphone when the sound source is close to it. This is particularly true of cardioid, directional microphones. To counter that, most high-end directional microphones use a low-frequency roll-off filter to restore the response to its flat, natural balance. Some microphones have a user-selectable switch to control the filter.

I'd buy that... but I've ran on-stage w/ hyper's before and had no problem. I'm going to chalk this one up to "not being completely familiar with my new equipment" and possibly "not using a bass roll-off". Not to mention I don't "shower regularly", nor do I "brush my teeth" or "wash behind my ears".

moral of this story...keep the damn 463's, Steve!

[§†∑∫åµÞ≥¥]

moral of this story...keep the damn 463's, Steve!

Well, if there was a way to run them with active cables AND my mod'd bodies, I would keep them. I could do some experimenting and tinkering with the A61 swivel adapters and try to make them into an active unit of some sort... but I'm no audiophile gearhead....

[marc0789]

moral of this story...keep the damn 463's, Steve!

Well, if there was a way to run them with active cables AND my mod'd bodies, I would keep them. I could do some experimenting and tinkering with the A61 swivel adapters and try to make them into an active unit of some sort... but I'm no audiophile gearhead....

when do you need actives? use the at's for stealth, the akgs for open. I can't think of one situation where you can't get away with full bodies fob or onstage here in town.

[goose]

moral of this story...keep the damn 463's, Steve!

I couldn't agree more!

Well, if there was a way to run them with active cables AND my mod'd bodies, I would keep them. I could do some experimenting and tinkering with the A61 swivel adapters and try to make them into an active unit of some sort... but I'm no audiophile gearhead....

PM sent

[§†∑∫åµÞ≥¥]

moral of this story...keep the damn 463's, Steve!

Well, if there was a way to run them with active cables AND my mod'd bodies, I would keep them. I could do some experimenting and tinkering with the A61 swivel adapters and try to make them into an active unit of some sort... but I'm no audiophile gearhead....

when do you need actives? use the at's for stealth, the akgs for open. I can't think of one situation where you can't get away with full bodies fob or onstage here in town.

You're totally right.... the problem is, I see myself taping less and less as the years go by. I'm tired of seeing the same old bands.... I look at festival line-up's like Bonnaroo, Wakarusa, etc. and out of 100 bands listed there are maybe 2-3 I'd be excited to see anymore. How many times can I go see MMW, SCI, Mule... I've seen them all 7-10 times and barely listen to the shows I've got. I guess I'd like to hit more/other genre's of shows more often, but many of those bands don't allow open taping... thus, I wouldn't be able to use the AKG's anyway. I'd actually like to keep them for the principle... they're great mics and I love them... but if someone else can get some good use out of them, I'd rather unload them. Fwiw, Dean is considering buying them from me... so they'd still stay in the Twin Cities at least.

[kgreener]

well it's not exactly split cards, but i know that grider and zach sheeran have run split hypers (483's) many times that sound amazing to my ears.  check 'em out:

http://www.archive.org/audio/etree-details-db.php?id=13883
http://www.archive.org/audio/etree-details-db.php?id=18238
http://www.archive.org/audio/etree-details-db.php?id=13498
http://www.archive.org/audio/etree-details-db.php?id=18215

i used a search for "AKG 483 spread":

http://www.archive.org/search.php?query=AKG%20483%20spread%20AND%20mediatype%3Aetree%20AND%20collection%3Aetree

[§†∑∫åµÞ≥¥]

my last set up using my new'ish SP C3 LD mics was a split card deal at the Artists Quarter.  Happy Apple's third night in a row  and I'd run omnis split at the lip.  wasn't getting much in the way of sound from the PA sitting underneath them as it was.  So I swithched them to card, spaced them about 5-6' in an A-B orientation.  Then I ran my other deck using AT/es943/omnis in a binaural "head" that I made and used that to capture the PA material from a bit further back in the room.  Matrixed the omni w/the cards and it doesn't sound too bad... Sorry your effort was less than satisfying.  You disapoint the band I'm sure.

Well, I figured out that my bass roll-off switch was off (new gear, ugh!) so I'm blaming that as the #1 culprit of bassiness. I have no fear of running that way again.... I look forward to trying it from the post on 4/3 for Drew Emmitt.

[plucks]

phish 12-29-95, split mk4's ~10ft.
unreal quality, one of the best ever IMO

http://db.etree.org/shninfo_detail.php?shnid=20748

[§†∑∫åµÞ≥¥]

phish 12-29-95, split mk4's ~10ft.
unreal quality, one of the best ever IMO

http://db.etree.org/shninfo_detail.php?shnid=20748

Definitely. I think the bigger the venue the better chance of a great recording w/ split card's -- at least there's more room for error with the direction of the mics. It may not work *quite* as well in a small bar setting. Of course, I'm only splitting mine about 2 feet.

[Tim]

phish 12-29-95, split mk4's ~10ft.
unreal quality, one of the best ever IMO

http://db.etree.org/shninfo_detail.php?shnid=20748

Definitely. I think the bigger the venue the better chance of a great recording w/ split card's -- at least there's more room for error with the direction of the mics. It may not work *quite* as well in a small bar setting. Of course, I'm only splitting mine about 2 feet.

see, I disagree with this. I wouldn't normally run split cards from the back of an arena like the tape in question. I have that tape and it came out pretty nice but in general I wouldn't split if I was taping in a large boomy arena, I think you would ordinarily just exaserbate the issue.

[nickgregory]

I am going to try split cards at an outdoor show this year....hopefully at the cary amphitheatre where the is no roof...I am betting it will be a good result considerng it shoud be less "boomy"

[§†∑∫åµÞ≥¥]

phish 12-29-95, split mk4's ~10ft.
unreal quality, one of the best ever IMO

http://db.etree.org/shninfo_detail.php?shnid=20748

Definitely. I think the bigger the venue the better chance of a great recording w/ split card's -- at least there's more room for error with the direction of the mics. It may not work *quite* as well in a small bar setting. Of course, I'm only splitting mine about 2 feet.

see, I disagree with this. I wouldn't normally run split cards from the back of an arena like the tape in question. I have that tape and it came out pretty nice but in general I wouldn't split if I was taping in a large boomy arena, I think you would ordinarily just exaserbate the issue.

I see your point with the boom-factor, but is an ORTF or DIN configuration in an arena really going to eliminate much of it anyway? IMO XY and/or bass roll-off would be your best bet for boom-elimination no matter what size the venue. My point of split card's in an arena/amphitheater has more to do with the amount of space the music is taking up. At an arena you might have 50-200 feet of space between the P.A. and your mics (ie: more room to absorb sound without losing much clarity), whereas in a small bar or club you'd be so close to the stage that you may create more of a hole in the recording... some instruments in one mic, some in the other, but maybe missing the middle? My 2 cents....

[§†∑∫åµÞ≥¥]

Fwiw, here's what I was attempting with my split card's (again, a little bassy due to too many monitors and no bass roll-off)

(credit to O-Dog for the pic; Natelsky's DPA's clamped under mine)

[timP]

I ran split cards a few weeks back and for the room, i think it sounds great
small square club about 10' apart, 12' up, 15' back
check out the encore or tracks 6>9 on disc 2

http://www.archive.org/audio/etree-details-db.php?id=23732

[Gordon]

Not to mention I don't "shower regularly", nor do I "brush my teeth" or "wash behind my ears".