Hi, Matt,
Those are amazing examples, but I must say it only reinforces why I'm
a Euro-mic-snob <sigh>.
The Sennheisers are so much more open and also have a more extended
low end than the other three mics that one cannot do justice to the
different techniques as the mics are so different.
If you ever have a chance to borrow a pair of DPA omnis, I would be
curious how you think they might work with or without the Jecklin
disk--or use the Sennheisers in omni mode, but multi-pattern mics
tend to be a little less smooth in polar response than a dedicated omni.
You're doing a lot of good research. For drama, I'm wondering if you
would consider -- especially with the 302 -- a 3-channel stereo effect.
I have a 195x tape done in 3 channel of a steam train that used a U47
in the centre and two Altec lipstick mics on either side and the
separation was something like 50 feet (or however long the mic cables were)=
.
You can really feel the train go through, especially when I output it
to 3C LCR.
the SF water has incredible bass on the Sennheiser pair.
I would think, actually, you're evaluating different mics here more
than different techniques <sigh>.
Cheers,
Richard
At 06:38 PM 2009-07-05, you wrote:
>First of all, please forgive me for barging in; I've long enjoyed and
>learned a lot from from this terrific list, but have only rarely
>actually posted here.
>
>Anyway, one of the challenges for me in learning to record good
>stereo images of outdoor soundscapes has been the relative lack of
>controlled examples of different miking techniques recorded
>simultaneously from the same position. There are some amazing
>outdoor nature recordings available here and elsewhere, but people
>tend to distribute only their best results, and keep to themselves
>the duds recorded along the way. For the listener, that's surely for
>the best, of course, but it means that there are lamentably few
>examples of the same sources recorded simultaneously with different
>(and documented) techniques from which to learn and compare.
>
>So I've slowly been experimenting with different techniques by
>making simultaneous recordings in different outdoor environments and
>of different kinds of subjects. The effort is paying off well for
>me, and perhaps others can benefit from my failures (and occasional
>successes). So I've collected and posted a few examples on a web
>page, which I will try to update with new recordings from time to
>time. Most of the recordings are decidedly unspectacular,
>intended primarily to expose the similarities and differences of
>the images produced by different mic configurations when used
>outdoors. Mostly, through, I hope to encourage others to do the
>same; my individual effort is really quite pale in the grand
>scheme of things, limited as it is by my talent, equipment, and
>rapidly diminishing inclination to carry lots of stuff with me.
>
>My sample clips, for what they're worth, can be found at
>http://www.crypto.com/audio/soundscapes/ .
>
>-matt
>
>mab blogs at http://www.crypto.com/blog/
>
>
>
>
>
>------------------------------------
>
>"While a picture is worth a thousand words, a
>sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause
>Yahoo! Groups Links
>
>
>
Richard L. Hess
Aurora, Ontario, Canada http://www.richardhess.com/
Detailed contact information: http://www.richardhess.com/tape/contact.htm =
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