Hi Walt,
Thanks as usual.
Say, would you ever consider any of these mics for a homemade parabola??
Sony One-Point Stereo Microphone
http://www.amazon.com/exec/obidos/tg/detail/-
/B000095SB2/qid=3D1081890116/sr=3D8-10/ref=3Dsr_8_xs_ap_i10_xgl147/002-
9692380-0992043?v=3Dglance&s=3Dpc&n=3D507846 =
OR:
Sony ECMDS70P Digital Recording Microphones
http://www.amazon.com/exec/obidos/tg/detail/-
/B00006HOLL/ref=3Dpd_sbs_pc_2/002-9692380-0992043?v=3Dglance&s=3Dpc&n=3D507=
846
???
Cheers,
Daniel De Granville
Pantanal ,Brazil
Message: 2
> Date: Tue, 13 Apr 2004 10:05:35 -0400
> From: Walter Knapp <>
> Subject: Re: Stereo with Parabola
>
> From: "Daniel De Granville" <>
>
> > Hope you all had a good holiday and lots of Easter Eggs!
>
> Spent most of it organizing my new truck. About ready for a foray
down
> into the sand country of S. Georgia. I'd already be away if the
weather
> was a little more optimum down there.
>
> > Walt, thanks a lot for your great explanation about the purposes of
> > stereo recordings with a parabola. It made me very interested on
trying
> > this out, but... As usual, I'm on a short budget...
>
> Aren't we all...
>
> > My question is, if I already own a Sennheiser ME 62 mic, is it
> > mandatory that I get another of the same mic in order to set up a
> > reasonable stereo recording device (meaning another K6 power
module,
> > etc)? Or could I get something cheaper and do the necessary
adjustments
> > to make it work fine? If so, considering that the new mic could be
less
> > sensitive than the ME62 that I already own, how do I overcome the
audio
> > differences? Is there any device I could use to normalize the L/R
> > volume input while recording, for example, or can this be done
> > afterwards with Cool Edit Pro (or similar) with satisfactory
results??
>
> The big problem in using two different mics is not the gain, with
many
> recorders you can set the gain on the two channels independently to
> compensate. Or adjust it afterwards in your sound editor. The big
> problem is that each mic has it's own characteristic sound.
Everything
> from frequency response, self noise, diaphragm characteristics, polar
> patterns and so on enter into that. I would think you would find this
> fairly noticeable, depending on mic choice.
>
> I deal with mic differences in my M/S setups. It may be all MKH mics,
> but the MKH-30 has different characteristics from the ones it's
paired
> with there. I set the gain on the Portadisc so as to get optimum
> recordings from both mics and go from there. In the case of M/S the
> mixing generally insures that whatever the mic characteristics the
two
> channels get a even dose.
>
> > Or, still, could I buy a pair of cheaper mics and leave the ME 62
aside
> > only for occasional monoaural recordings??
>
> A word of warning, when I bought the Telinga, I got both the DAT
Stereo
> and the Dual Science mics. I expected to record mostly with the Dual
> Science and just occasionally with the DAT Stereo. But once I used
the
> DAT Stereo, and did comparisons, the Dual Science got relegated to
rare
> use, very rare now. Stereo is just that much better. You get into
stereo
> you probably will not want to go back to mono at all.
>
> Note that stereo from the Telinga, while very good, is not as good a
> stereo field as the close stereo mic systems like I use. In the
Telinga,
> distance is compressed in the center of the soundfield, where in the
> others it's not that much. Though the M/S MKH-30/60 has some of the
same
> soundfield characteristics as the Telinga. Where things are close
enough
> I opt for one of the others. Each mic has a purpose.
>
> You could experiment with a couple inexpensive small mics, tie tac or
> the concert taper's stealth "binaural" mics come to mind. But, in the
> long run you will probably end up wanting the higher quality mics and
> need to get a second ME. If you already have the Telinga, I'd
recommend
> getting the DAT Stereo over a second ME.
>
> Anyway, that's my two cents.
>
> Walt
>
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