Stereo recording a choir in a circle ?

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karlwinkler66@yahoo.com (Karl Winkler) wrote in message news:<82150ded.0408271443.66424f98@posting.google.com>...
> rickpv8945@aol.com (Richard Kuschel) wrote in message news:<20040827123432.25600.00004780@mb-m29.aol.com>...
> > The "Swedien Method" was a pair of neumann omnis in a coincident array (Like
> > Blumlein).
> > the particular microphones (M50's? ) aren't all that omni ay higher
> > frequencies. The choir was in a circle.
>
> He was using a pair of M49s set to omni.

I read that he coined this technique, "Fat Mono"

Mike

 

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On Fri, 27 Aug 2004 14:28:35 +0300, Dimitrios
<musurgioNOSPaM@otenet.gr> wrote:

>Dear Don,
>Using the Geffels "about one third and two thirds the way across the
>circle" can you please explain this further or draw it simply if it is
>easy ?
>Thank you.
>Dimitrios

Imagine a diameter across the circle of your choir. Divide that line
into three, and place the microphones at the two resulting points.

d

Pearce Consulting
http/www.pearce.uk.com

 

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Thanks to all for your insights.
What about this Decca Tree setup ?
As I saw a picture of it , it consists of three omnis pointing down at
distance of 1 meter beetween them all.
Dimitrios

Paul Stamler wrote:
> "Dimitrios" <musurgioNOSPaM@otenet.gr> wrote in message
> news:cgkm6u$jec$1@usenet.otenet.gr...
>
>>I wonder how would you use your mics to record a stereo reproduction of
>>a choir of around 10-15 people gathered around in a circle inside a
>
> church.
>
>>Note that I cannot change the way they are standing,
>>and the mics should be positioned inside the circle.
>>Circle is small enouph (8-10feet diameter)
>>I would prefer a maximum of three condenser mics used.
>
>
> XY pair of small-diaphragm condensers, in the centet of the citcle, about 4'
> off the ground, pointing up. You should, if possible, put a rug under them
> to cut down floor bounce.
>
> Peace,
> Paul
>
>

 

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>
>He was using a pair of M49s set to omni. VERY different than the M50.
>The M49 is a LD, dual-diaphragm condenser, and when set to omni, has
>two "on-axis" sides, with a slight dip in the HF response
>perpendicular to the direct axis. Thus, in a way, his system is omni
>in the lows, and stereo in the highs, and the pattern would extend all
>the way around the two mics. The only difference between this and the
>classic Blumlein setup is that here, the rear lobes are not out of
>phase from the front.
>
>The M50 is omni only, and has only one "on-axis" direction, directly
>to the front of the diaphragm. A pair of these crossed at 90 degrees
>might yield a similar response to the above setup, but only to the
>"front" of the two mics, not to the rear. I.e. you would have highs to
>the front side of the array only.
>>
>> One could try a set of LDC microphones set to omni as an experiment and
>see how
>> this comes out.
>
>Yes, exactly!
>>
>> I recorded a choir of shaped note singers in a circle using a moderately
>spaced
>> pair of 414's in omni and the results weren't bad at all. Today, I would
>> probably use a Jecklin disc.
>
>But as mentioned earlier in the thread, wouldn't that cause a null
>spot (or two?) considering the circular arrangement of the group?
>
>Karl Winkler
>Lectrosonics, Inc.
>http/www.lectrosonics.com
>
>

Thanks for the clarification. I put the ? because i had forgotten which model
Swedien used.

I don't get a null in the plane of the Jecklin disc, as both microphones are
line of sight to the recorded object.


Richard H. Kuschel
"I canna change the law of physics."-----Scotty