Topic: Q: about Baffled Stereo technique

[cgrooves]

I know that using omnis with the jecklin disc is a baffled stereo technique.
Question is:  If omnis are mounted on each shoulder, would you consider that a baffled stereo technique (your head is the baffle) or just A-B stereo?
Thanks.

[JackoRoses]

hmmmm,....
at the width of your shoulders, you are closer to getting into the realm of spaced omnis.
Baffled omnis are properly a/b omnis with a baffle between them. If the mics get too far removed from the shadow of the baffle, you start losing the effect of the baffle. At the distance that you are talking about, at shoulder width, you'd need a lot larger baffle than your head.

The thing that I like most about the baffled omni technique is how it helps control the bass, and provides wonderful seperation. Because the mics are so close together, they are much closer to being in coincident timing to each other (at 3"->6" inches as opposed to 6'->10' for instance). And much as coincidental timing helps control bass with directional mics, it helps control the bass with omnis. You are getting the bass impulse at one moment, rather than the wham, wham that you get with spaced omni's. This is especially more noticeable if your bass is focused or panned to a particular area of the stage.

Thank you for just explaing why this recording I recently made sounded like the mids were out of phased
although at the show it sounded quite well.

[F.O.Bean]

hmmmm,....
at the width of your shoulders, you are closer to getting into the realm of spaced omnis.
Baffled omnis are properly a/b omnis with a baffle between them. If the mics get too far removed from the shadow of the baffle, you start losing the effect of the baffle. At the distance that you are talking about, at shoulder width, you'd need a lot larger baffle than your head.

The thing that I like most about the baffled omni technique is how it helps control the bass, and provides wonderful seperation. Because the mics are so close together, they are much closer to being in coincident timing to each other (at 3"->6" inches as opposed to 6'->10' for instance). And much as coincidental timing helps control bass with directional mics, it helps control the bass with omnis. You are getting the bass impulse at one moment, rather than the wham, wham that you get with spaced omni's. This is especially more noticeable if your bass is focused or panned to a particular area of the stage.

moke, on a j-disc recording, would one typically place the mics in and A/B config or a DIN config arent the highs lost if not pointed towards the sound source

[cgrooves]

Thanks for the info.
I ran this stealth setup (see signature) for the first time the other night and was pleased with the results. The bass is a little lacking, but it is a good representation of the PA system (it was lacking in bass too).

I like the the string to ensure that both capsules are the proper distance from the disc. I may incorporate that whenever I stop being lazy and build a custom J-disc. I can't wait to try that technique out with my AT Omnis in an open setting.

What would you say that angle is in the picture?  Approx. 35 to 40 degrees?

[Ray76]

http://www.maltedmedia.com/people/bathory/jecklin.html

This guy made one for c-4s.

Ray

[Ray76]

http://www.klankschap.nl/ndotb.pdf
and one more that looks interesting.