Hi all,
I made a post a few weeks ago about a pair of DPA omni's I have just bought=
,
about whether they were well matched enough. Thank you for all your respons=
es
you have allayed all queries - time to get out there and put them into acti=
on.
This post is one asking for the experience of those who have employed omnis=
in
a stereo rig before.
1. Spacing - how far apart (interested in whether you tend to used fixed
spacing or need to change to suit the location + what results/artifacts are
obtained with various different spacings)
2. Angle - do you mount them forward firing or angled out (if so at what an=
gle)
and what are the different results obtained by using different angles.
3. Practical - what is the best way to mount them. Should it be a fixed
mount/one with variable angles/lengths re. qq. 1+2. If it needs to be varia=
ble
does anyone have any suggestions for a setup based on a tripod and two ryco=
te
windshields for a stereo bar that might be attatched to a tripod with it's
screw and then have slideable/angleable (easily used in the field and
recallable if I like a particular setting for a particular location) mounts
with the appropriate thread for rycote's. (the DPA bar besides being very
expensive does not have the right threads and is designed for indoor use). =
I do
not have access to a machine shop.
Are there any other solutions that you might recommend?
4. Technique - My thoughts are to go for a spaced pair technique (I alredy =
have
a really nice binaural setup) are there any other techniques that anyone fe=
els
I must try before settling on the spaced pair setup?
I would be very grateful for any suggestions and eagerly await your respons=
e's
Lastly a brief one for Walter or anyone else with experience of the Sennhei=
ser
MKH110. I do not have a background in electronics but I understand it is no=
t
phantom/T powered is there a readily available commercial solution to power=
ing
it? If not I would be incredibly grateful for an idiots guide to powering t=
his
mic.
Thank you all,
Tom
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