Rob Danielson wrote:
> Hi Curt--
> I'm trying to narrow down what you mean by "hollow." By comparing
> files that exhibit the problem with those that don't (or don't as
> much), we'll all probably learn something.
Good idea, Rob. Here are two quick and dirty examples (both are 1:20).
1) This clip has the "hollow" sound that I want to learn to avoid. I
recorded it couple months ago in a small rocky inlet with an AT3032
head-spaced baffled rig:
http://www.trackseventeen.com/media/tsp/waves-hollow.mp3
http://tinyurl.com/l4ylsu
2) This clip seems to have a cleaner, less "hollow" sound. I recorded
it the other day with a pair of Shure Beta58s in a narrow ORTF-type
array:
http://www.trackseventeen.com/media/tsp/waves-not_so_hollow.mp3
http://tinyurl.com/lm478b
> I'm wondering if micing distance and array used are the only other
> variables we'd need to know,..
They're probably the most important. Of course, we all know that mic
placement is about more than just "distance," especially in shoreline
areas that feature massive rock structures.
Mike wrote:
> Curt was there a sand bank or rise behind you?
Nope. Massive rock structures.
> I would imagine in such a diffuse pink noise environment a pair of
> figure 8's may work better?
After my last venture out, I would guess probably not, but it's worth
a try.
John Hartog wrote:
> Hi Mike,
> Wondering if shadows and reflections from shifting wave faces have
> something to do with the tone oscillations.
I haven't checked out Mike's links yet, but I imagine the waves
themselves -- always in motion, and with ever-changing angles of
reflection -- could certainly cause a lot of tone shifts when close
micing.
Curt Olson
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