![]() ![]() The fact that the tone is good when soloing left or right channels would suggest that the effect is more a result of the stereo mic placement than from comb filtering of each mic from reflections off the lid. The only thing that comes to mind is to try taping a 2 foot square patch of acoustic foam to the inside of the lid aroundabout the mics, however. ![]() The sound I hear on the held chords is more reminicent of a 'Phaser' ie: a dynamic filtering of the sound that swims and warps in that way that Andy Summers loved so much! I guess the sound from the piano is dynamic enough in its overtones or something to produce this. That bouncing off the lid and arriving later thing will comb filter the signal and create a tonal difference at varying frequencys, but wont that be a more or less static thing? But other notes, the direct sound and reflected sound arrive to the mic at different times and out of phase. Told in the first person, this new book Lend Me Your Ears is an oral history of Jethro Tull, mixing hundreds of fan anecdotes with memories from the band, their collaborators, other musicians and celebrity admirers garnered from over 50 years of recording and performing. For certain notes, the direct sound and reflected sounds arrive to the mic at different times, but in phase. I think the problem is this: the direct sound from certain notes are sometimes combining unfavourably with the reflected sound from the lid and the resonance from the soundboard. Collapsing the stereo spread in the low mid-band is also helping. I've been playing around with phase alignment in post, and actually a lot can be sorted with that. If I want to have this tonality and closeness with these mic's on this piano, I think I must compromise on phase. Those sound wonky.Ī pain, but I don't think there's much I can do about it. But other notes, the direct sound and reflected sound arrive to the mic at different times and out of phase. And not just the notes that are closest to the microphone. my hunch is that while it would remove the swimmyness, it would still sound lumpy, because different notes sound at different volumes in any given spot. I think there's not enough intensity difference from note to note when you are only mic'ing in one spot to give good stereo.Īlso, the mono mic isn't an option in this case, but also. I tried a coincident pair and it didn't seem to give me the stereo spead I was looking for. Or if it will be an ensemble recording how about a mono omni? Yes, sorry to say, that is a bit phasey and odd for my taste.Ĭan you get the mics closer together? A coincident pair perhaps.
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