Hi Robb,
Lang Elliott did the SASS/Neumann head comparisons for internal noise
and felt the MKH 20s with SASS were slightly quieter. I don't think
he's participating in this group any more. Gordon has both set-ups
and his comments today are helpful. There is more to mic choice than
just S/N ratio so it's good to hear what Gordon has experienced with
his mics.
Kevin
On Sep 11, 2008, at 10:28 PM, Rob Danielson wrote:
> At 10:17 AM -0600 9/11/08, Kevin Colver wrote:
>
> ...
> >The loudness of my performer and the
> > > decision on whether I want reverb all factor in on how close to
> >> place the mic.
> > >
> > >I look and listen for reverb possibilities. If the hillside makes
> > > a natural inward-curved amphitheater I can search for the audio
> >> center that captures the reflected sounds and amplifies the
> >> soundscape in a pleasing way. A songbird's song reverberating in a
> >> small canyon sounds so much different than the same bird out on an
> >> open slope. To me, a small amount of natural reverb makes the
> > > recording more pleasing.
> >
> >
> >
> >> Oh, and BTW, on a gear note, Lang Elliott was telling me how he
> >> compared the Head Gordon uses with his SASS setup and a pair of MHK
> >> 20 mics. Lang found the SASS slightly superior and quieter. I
> >> would have to defer that discussion to Lang and Gordon.
> >>
>
> Hi Kevin--
> Thanks very much. Useful tips. Yes, I was definitely thinking of a
> workshop conducted in the field. You're right that learning to move
> away from sounds of interest to facilitate richer spatial imaging
> doesn't come instinctively.
>
> As for pleasing reverberation, the timing relations and volume
> proportions between the key sound reflections would seem to have big
> roles. For extended recording situations, I've been transversing the
> site in a crude grid clapping my hands every 20-30 steps. I can
> confidently determine the surfaces that are reflecting sounds most
> effectively and hear the mix of reflections at these points. Then I
> can visualize the positions that are advantageously positioned to
> receive reflections from all of the primary reflective surfaces. It
> similar to your process of using a natural amphitheater but its still
> mostly an educated guess as I can only hear a limited number of sound
> sources at the final position I choose. Do others have ways to
> evaluate micing positions in terms of local reverberations or
> acoustics for diffuse field micing?
>
> I'd love to hear those SASS vs KU 81 comparison recordings if they
> are still accessible. Rob D.
>
> >
> >> Kevin
> >>
> >>
> >
> >> Ron wrote:
> >>
> >
> >> Gordon's recordings set very high standards. Part of it may be his
> >> gear (more below) but more so, he works very hard at mic
> positioning.
> >> I wish he'd teach some workshops on these techniques.
> >>
> >>
> >
> >
> >
>
> --
>
>
>
>
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