![]() ![]() If the two signals are perfectly 180 degrees out of phase, you will have complete silence. The resulting audio will have un-natural volume and frequency fluctuations throughout your recording, with some frequencies reduced and some being boosted. This is when two versions of the same sound (whatever you are recording) arrive at each microphone at slightly different times (within milliseconds of each other) and are mixed together in playback.īecause audio signals are either going into positive amplitude or negative amplitude at all times, the two signals will either cancel each other out if travelling in opposite amplitudes, or boost each other if travelling in the same amplitude. When making the jump from mono to stereo recording, you are going to encounter the hurdle known as phase cancellation. In this post we will look at the various types of common stereo mic techniques, how they vary from each-other and what types of microphones you will need to successfully use them. In subideal rooms I tend to to use a spaced pair more as cymbal spot mics as I don't gain anything from getting a complete kit sound if the room sounds bad.In a previous post we discussed the fundamental differences between recording audio in mono or stereo, and how each method may be better suited to certain scenarios. May look weird but gives a perfect and nice stereo image of the drums with a nice spread and a lot of focus on the toms as the mics end up almost directly over them.įoolproof, phase coherent and I like it way better than Recorderman - given you use kick and snare close mics, too. That usually means the OH on the floor tom side ends up slightly lower which reflects the actual height of the drums as the floor tom(s) is lower than the rack(s). Like with Recorderman you can measure those with a cable or string to be equidistant from both snare AND kick (where the beater hits). ![]() However, most of the time I go for another setup inspired by George Massenburg that looks like the second diagram. It depends massively on the setup of the actual kit, of course. ![]() This still retains snare and kick quite centered but gives a slightly better image. You can see that I usually move the ORTF pair slightly off from the imaginary center line. I mostly use LDCs on a bar so that I can quickly adjust the angle by moving the mic stand's arm. Well, got no actual photo here but made a quick diagram that roughly shows what I mean. ![]() Old thread but do you happen to have a picture showing your placement and direction of the pair?Haha, yeah, it popped up under a recent thread and I just didn't pay attention to the date. ![]()
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