10-12-2014, 06:22 PM
I guess I felt the need to add something to these comments I'm answering to (because I'm an a** 
)
You must remember that everytime we sum multiple mics of a same source we get that "puke-sounding phase coloration". If we EQ something (either the room or close mics in this case) we simply change the phase relationship or "coloration" if you will (unless we'd use lin-phase EQs obviously). Sometimes cutting a frequency might end up boosting it if that freq was summing negatively with another mic; "less" negative summing as funny as it sounds
In classical music recordings this kind of coloration is the only kind we enjoy having and pretty much base the whole sound solely on it.
I insist this approach has no merit; only theoretically if we'd use XY technique as a "distant capture" since it has no difference in time, only volume - just like the pan pot. No matter where you pan the close mic, you'll never get it to same place L/R-wise as the room mic. Even if you we're to "do it right" by figuring each instrument's position in the room mic time time-wise and created the according delay in the close mic, the result would be similar to putting a mono room mic on top of a mono close mic: instant comb filtering
Now if think about it this way: if you pan an electric guitar close mic to one side and its room mic to another side (I personally like this sound a lot), does it to you "incur penalties in the mix quality" soundstage-wise? This last paragraph is more of a rhetorical question; food for thought.
)(05-11-2014, 01:47 AM)pauli Wrote: Still having some sub issues and it seems like the upright bass is really hard to pin down anyway. Main issue is that working with room mics can be a real drag, even with such nice recordings. Really limits what you can do to the individual instruments without getting that puke-sounding phase coloration...
You must remember that everytime we sum multiple mics of a same source we get that "puke-sounding phase coloration"
. If we EQ something (either the room or close mics in this case) we simply change the phase relationship or "coloration" if you will (unless we'd use lin-phase EQs obviously). Sometimes cutting a frequency might end up boosting it if that freq was summing negatively with another mic; "less" negative summing as funny as it sounds In classical music recordings this kind of coloration is the only kind we enjoy having and pretty much base the whole sound solely on it.
(16-11-2014, 01:14 AM)The_Metallurgist Wrote: going back to what i said earlier, it's possible to work out where the instruments are within the room, and pan them in the DAW as is appropriate, and fixing the close mic levels accordingly.
you've not done this, it appears to me. i pulled the multi down and took a quick look to see what all the fuss was about? clearly the upright, which i'll mention specifically because you were having issues with it, isn't in the center of the room - that's "center" as far as the Decca Tree is concerned, but is hanging around off-center to the left. this means that if you place this instrument anywhere else other than where it should be according to the mike placements (off-center left), you will incur penalties in the mix quality. you've put it right down the middle!!
I insist this approach has no merit; only theoretically if we'd use XY technique as a "distant capture" since it has no difference in time, only volume - just like the pan pot. No matter where you pan the close mic, you'll never get it to same place L/R-wise as the room mic. Even if you we're to "do it right" by figuring each instrument's position in the room mic time time-wise and created the according delay in the close mic, the result would be similar to putting a mono room mic on top of a mono close mic: instant comb filtering
Now if think about it this way: if you pan an electric guitar close mic to one side and its room mic to another side (I personally like this sound a lot), does it to you "incur penalties in the mix quality" soundstage-wise? This last paragraph is more of a rhetorical question; food for thought.