ji43
Junior Member
Posts: 60
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Post by ji43 on May 2, 2023 8:57:10 GMT -6
Tracking a singing acoustic guitarist tonight and want to add some room mics to capture some natural ambience, to blend in with the close mics. P
Any suggestions on how to place the rooms mics? Close mics are LDCs around 12-18" from the performer, one on the guitar, one on the vocal.
Have another pair of LDCs avail for the room mics (Can set to omni)...won't have too much time to experiment, so looking for some insight/suggestions from others with experience so I can set them up and get a good result without too much tinkering.
Thanks!
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Post by Quint on May 2, 2023 9:08:02 GMT -6
Tracking a singing acoustic guitarist tonight and want to add some room mics to capture some natural ambience, to blend in with the close mics. P Any suggestions on how to place the rooms mics? Close mics are LDCs around 12-18" from the performer, one on the guitar, one on the vocal. Have another pair of LDCs avail for the room mics (Can set to omni)...won't have too much time to experiment, so looking for some insight/suggestions from others with experience so I can set them up and get a good result without too much tinkering. Thanks! Nice thing with omnis is that they tend to be more forgiving than other patterns, provided you don't have obvious parts of the room or other sound sources that you need to avoid by utilizing the nulls of a different pattern. So, if it's just a singer songwriter, I'd just walk around and listen to them play until you find some spots in the room that sound best and just put the room mics up there. |
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Post by drumsound on May 2, 2023 10:09:02 GMT -6
I generally like to think about what function I want the room mics to play. If you want vast and luscious, spaced mics (esp omni, but not always) far back and wide can be interesting. If I just want some spread and air around the main source, I like a coincident pair, either XY (cardioid) or Blumlein (Figure 8) that aren't as far out.
If the room is funky in any way, I might try things like cardioid facing the walls for reflections.
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ji43
Junior Member
Posts: 60
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Post by ji43 on May 2, 2023 11:37:23 GMT -6
I generally like to think about what function I want the room mics to play. If you want vast and luscious, spaced mics (esp omni, but not always) far back and wide can be interesting. If I just want some spread and air around the main source, I like a coincident pair, either XY (cardioid) or Blumlein (Figure 8) that aren't as far out. If the room is funky in any way, I might try things like cardioid facing the walls for reflections. Thanks! The room sounds good; not overly reverberant, but not small and boxy either. The main goal is some stereo spread and air around the main source, since the guitar and vocal will be in mono; so the room mic's main function is some width/air/space...also will add some reverb via a Bricasti, which I may send off of the room mics (will experiment with sending off the close mics and/or the room mics). Would spaced pair omni be okay for this? Thinking that if the vocal mic is 18" from the source, then I can have the spaced pair 4.5 foot equilateral triangle from the vocal mic, and placed between the guitar and vocal mic in height....or might it be best to have the mics higher up above the performer? |
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Post by christopher on May 2, 2023 13:28:45 GMT -6
I get a little crazy with room mics. Have you tried ORTF? I kinda like it. I usually do something like an overhead thing not very far, a few feet away. I also like something 12-30 feet away, aimed off axis or away to the source. The idea is catch the low waves in the room after they’ve developed: Transformerless mic or whatever that goes really deep might be nice there. I want to try a ribbon for that. I’m ok with using a dynamic for room too, a noticeable character. Whatever a horn player might use across the room. I’ll often experiment, usually trash things that don’t work, or tuck them in barely audible
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Post by drumsound on May 2, 2023 18:06:48 GMT -6
I generally like to think about what function I want the room mics to play. If you want vast and luscious, spaced mics (esp omni, but not always) far back and wide can be interesting. If I just want some spread and air around the main source, I like a coincident pair, either XY (cardioid) or Blumlein (Figure 8) that aren't as far out. If the room is funky in any way, I might try things like cardioid facing the walls for reflections. Thanks! The room sounds good; not overly reverberant, but not small and boxy either. The main goal is some stereo spread and air around the main source, since the guitar and vocal will be in mono; so the room mic's main function is some width/air/space...also will add some reverb via a Bricasti, which I may send off of the room mics (will experiment with sending off the close mics and/or the room mics). Would spaced pair omni be okay for this? Thinking that if the vocal mic is 18" from the source, then I can have the spaced pair 4.5 foot equilateral triangle from the vocal mic, and placed between the guitar and vocal mic in height....or might it be best to have the mics higher up above the performer? That might sound really nice, and give a more obvious room thing. A coincident pair would me more on the subtle side. |
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Post by schmalzy on May 6, 2023 12:41:20 GMT -6
For something like this, I've really liked using a mid/side setup.
I get the opportunity to change the size of the room (or focus on the artist and create intimacy) in the mix.
My Vanguard V13s have been great for this; their V44 I bet would be fantastic, as well.
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