This week I just did my first gig with a pair of cheap Behringer omnis, what a differences a omni makes in the world of strings I love them. Can't wait to get some good ones. The Behringer sounded a bit noisy but there was room noise from the heat vents that could not be turned off, it is controlled from a different location and can not be adjusted anyway's old school venue that holds 1200 nice place. I used an A-B about 6 feet apart and 7 1/2 feet high 6 feet behind conductor. Sounded a little wide but nice. Don't think the pure guys will like it but I like the big wide movie recording sound. I think the a-b was to wide because I was get a little to much shift in the whole left to right in the center. I will try post when I figure that out.
Tags
Comments
Well, as Quickdiscs discover the very low-priced Beheringer
Well,
as Quickdiscs discover the very low-priced Beheringer ECM8000 sound surprisingly good. A bit noisy as mentioned but the actual sound is not bad in my ears.
Good omnis can be heavenly, I really love my pair of DPA 4003-s. In the right room and the right ensemble placed just right they make every little nuance in the performance come through crystal clear.
On the other side, wrong room and they are very difficult to coach into making even a useful sound.
You may put me in the omni camp as well.
Gunnar
Yeah, I was actually surprised at the quality of the sound from
Yeah, I was actually surprised at the quality of the sound from the Behringers. No, they're not schoeps or Neumanns, but they are surprisingly good for less than $100 per pair!!
Of course, I do take issue with the placement -
6 feet is WAY too far apart. 2 feet to 3 feet (sometimes even less) is all that's needed. Beyond that, you'll get a hole in the middle.
Also, height. Bear in mind the following:
The higher you go, the more the distance between the front instruments and the back instruments in relationship to the microphone decreases. Therefore - too high and you get a flat perception.
However, too low and you don't get line of sight (which is still important even with omnis). For height, I almost always go high enough to be able to "see" the timpani unrestricted (or as much as possible) but beyond that, you start to compress the orchestra.
This will often be 8 to 12 feet higher than the conductor. The further the distance behind the conductor, the higher the stand will need to be.
Just some thoughts.
J>
Cheap omnis with cheap condenser microphones sounding better on
Cheap omnis with cheap condenser microphones sounding better on strings?? What were you using before? Carbon button?? Radio Shaft?
On the contrary many guys here like using spaced-omnis and do so as their rule of thumb. Most people don't think it sounds too wide.
Spaced omnis are not my favorite miking technique however. I much rather prefer MS miking, decoding in hardware or software and adjusting your stereo width to taste, with full Mono compatibility and no perceivable phase shift. While using the MS technique of recording, I like using ribbons on strings as it sounds way better, Fuller, lusher, fatter not so terribly strident and metallic, thin and sterile as you get from cheap condenser microphones. But then some people like that sound.
To each their own.
Ms. Remy Ann David