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I've got a pair of Royer R-121's on the way (to play with before I make the financial leap to a SF-1.) I've used Figure-8 (on a pair of Shure KSM44 LDC) in Blumlein, half a MS rig, and as a semi coincident pair.

I've got both choral and organ gigs this week where I can experiment a big (supplement the main rig.)

Any other good techniques with these ribbons? Royer suggests 1 foot apart and slightly angled. That night work okay... Could I just do a spaced pair on the organ for the closer pair (complemented with an AB omni pair in the hall?) Or run the A-B pair up close and use the ribbons as Blumlein in the hall?

Ideas? Things I should try?


anonymous Mon, 01/16/2006 - 03:59

DavidSpearritt wrote: In a good hall, you simply cannot do better than a Blumlein pair. The ultimate! :) (D ucking for cover from the spaced omni zeolots)

I use both. I find the blumlein pair seems to have a flatter room response, perhaps cancelling nodes of low end of the hall. Perhaps the roll off benefits resolution and deceives us into thinking its more accurate? Maybe dual-diaphragm model functions like a servo in reverse for capture, always capturing the waveform linearly and thus controlling the speaker driver on playback?

I haven't quite gripped the reason I prefer them as well.


DavidSpearritt Mon, 01/16/2006 - 04:10

In all seriousness, I find Blumlein to be spectacular sometimes and not so good for other times. Its the source location accuracy that rocks my boat, and I certainly don't get this with omnis.

Tonality is what omnis are great at, ie accurate frequency response, but this in only down low. So for our most critical recordings we always use both of these pairs and mix them together.

Tonight I just got back from a trial sound check recording of a small choir in preparation for three CD sessions this coming week. I used a single SF24, and the sound was absolutely superb, no crunch, no shrill sopranos, wonderful blend, and the most beautiful midrange you can imagine.


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