Using phase inversion to match mics

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I asked a Q recently about matching stereo mics in-store (ie. GC) and Scott
Dorsey had the great reccomendation of recording two mics, one perfectly out
of phase with the other, either with a cable or with a phase switch and see
how well they cancel each other out. It seems like such a good suggestion
that it's deserving of it's own thread. So what do you guys think is the
best way to go about this? Burn a CD of some white noise, play it in GC's
"control room" through some flat monitors and pick the mic combo with the
most cancellation? This way you could also compare the waveforms of the two
mics. Would Harvey's tone generator technique be more useful than white
noise? Watcha think?

--

Jonny Durango

"Patrick was a saint. I ain't."

http/www.jdurango.com

 

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Archived from groups: rec.audio.pro (More info?)

On Tue, 14 Dec 2004 08:21:50 GMT, "Jonny Durango"
<jonnybush_from_officedurango1@comcast.net> wrote:

>I asked a Q recently about matching stereo mics in-store (ie. GC) and Scott
>Dorsey had the great reccomendation of recording two mics, one perfectly out
>of phase with the other, either with a cable or with a phase switch and see
>how well they cancel each other out. It seems like such a good suggestion
>that it's deserving of it's own thread. So what do you guys think is the
>best way to go about this? Burn a CD of some white noise, play it in GC's
>"control room" through some flat monitors and pick the mic combo with the
>most cancellation? This way you could also compare the waveforms of the two
>mics. Would Harvey's tone generator technique be more useful than white
>noise? Watcha think?

Don't bother with the white noise. Use recorded music in MONO, or use
your own voice. You're going for "close enough for rock 'n roll".
If you need precision matching, pay the Sound Room to do it for you.
Mike T.