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piano quartet

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Anonymous
February 28, 2005 11:56:48 PM

Archived from groups: rec.audio.pro (More info?)

i have the opportunity to record a piano/violin/viola/cello group. this is
something i've never tried but it sound challenging and exciting. i have 5
condenser mics (3 sd, 2ld), two of which are matched pair. the only ribbon
mic i can afford, if i even buy one is the nady rsm-2. the piano is a small
(not baby) grand. my first impression is to use the pair of SDC's on the
piano, one LDC on the cello, one LDC on the violin & viola and one extra SDC
for the room...or maybe i wont mic the room and just put another on the
piano, or isolate the violn & viola. any thoughts? thanks!
-alan

More about : piano quartet

Anonymous
March 1, 2005 1:34:24 AM

Archived from groups: rec.audio.pro (More info?)

It is possible and even desireable to mic a piano quartet with 2
microphones. This way, your stereo blend can be more natural. It is
very difficult to get this kind of natural blend by miking each
instrument separately and mixing. In the end, your approach will
greatly depend on the venue. Tell us more about the space and the tools
you have.
Mike
Anonymous
March 1, 2005 1:58:57 AM

Archived from groups: rec.audio.pro (More info?)

<mike.mermagen@gmail.com> wrote in message
news:1109658864.819682.145510@o13g2000cwo.googlegroups.com...
> It is possible and even desireable to mic a piano quartet with 2
> microphones. This way, your stereo blend can be more natural. It is
> very difficult to get this kind of natural blend by miking each
> instrument separately and mixing. In the end, your approach will
> greatly depend on the venue. Tell us more about the space and the tools
> you have.
> Mike
>

about the room...well let's just say i'll be bringing some baffles. it's a
rectangual room in a house with lots of reflective surfaces, area rug,
hardwood floor, stone fireplace and 8 foot ceiling. i plan to use the
baffles as LEDE as i can which means i likely wont be able to isolate the
players from each other (maybe they wouldn't like this anyway). that's
something to try though...like set up a couple mics first and see how it
sounds. are you thinking high-up slightly panned?
Related resources
Anonymous
March 1, 2005 3:57:53 AM

Archived from groups: rec.audio.pro (More info?)

On Mon, 28 Feb 2005 20:56:48 -0800, "greggery peccary" <.@.> wrote:

>i have the opportunity to record a piano/violin/viola/cello group. this is
>something i've never tried but it sound challenging and exciting. i have 5
>condenser mics (3 sd, 2ld), two of which are matched pair. the only ribbon
>mic i can afford, if i even buy one is the nady rsm-2. the piano is a small
>(not baby) grand. my first impression is to use the pair of SDC's on the
>piano, one LDC on the cello, one LDC on the violin & viola and one extra SDC
>for the room...or maybe i wont mic the room and just put another on the
>piano, or isolate the violn & viola. any thoughts? thanks!
>-alan

Hi Alan -

My first question's going to be what mics do you have, and which are
the matched pair?

My second question's going to be what pieces will they be performing?
Which instruments carry the performance the most? Which ranges will
need the most headroom to capture the fireworks?



jtougas

listen- there's a hell of a good universe next door
let's go

e.e. cummings
Anonymous
March 1, 2005 3:57:54 AM

Archived from groups: rec.audio.pro (More info?)

"jtougas" <jatougasNOSPAM@charter.net> wrote in message
news:0e08219hco06t6d94udu3ql7qeasl9a3df@4ax.com...
> On Mon, 28 Feb 2005 20:56:48 -0800, "greggery peccary" <.@.> wrote:
>
> >i have the opportunity to record a piano/violin/viola/cello group. this
is
> >something i've never tried but it sound challenging and exciting. i have
5
> >condenser mics (3 sd, 2ld), two of which are matched pair. the only
ribbon
> >mic i can afford, if i even buy one is the nady rsm-2. the piano is a
small
> >(not baby) grand. my first impression is to use the pair of SDC's on the
> >piano, one LDC on the cello, one LDC on the violin & viola and one extra
SDC
> >for the room...or maybe i wont mic the room and just put another on the
> >piano, or isolate the violn & viola. any thoughts? thanks!
> >-alan
>
> Hi Alan -
>
> My first question's going to be what mics do you have, and which are
> the matched pair?
>
> My second question's going to be what pieces will they be performing?
> Which instruments carry the performance the most? Which ranges will
> need the most headroom to capture the fireworks?
>

hey,
1. i'm almost ashamed to tell you what mics i have on this NG, but i'm a
quite a newb in this biz and financially limited, anyway: all mxl's.
2-2003's and some of the mxl small diaphragms 993 pair and a 603-s. also
have a decent roland dynamic, but dont think it applies in this situation. i
always wanted a ribbon mic, but also always getoutbid every time...
2. it's a piece by Shurhart (sp?) a Mozart contemp. piano quartet in
something-or other (G?) at least the last (3rd) movement, but maybe 1st &/or
2nd if there's time. the piano & violin carry the piece with just a few
flourishes from the cello & viola.
Anonymous
March 1, 2005 5:27:51 AM

Archived from groups: rec.audio.pro (More info?)

On Mon, 28 Feb 2005 22:29:19 -0800, "greggery peccary" <.@.> wrote:

>1. i'm almost ashamed to tell you what mics i have on this NG, but i'm a
>quite a newb in this biz and financially limited, anyway: all mxl's.
>2-2003's and some of the mxl small diaphragms 993 pair and a 603-s. also
>have a decent roland dynamic, but dont think it applies in this situation. i
>always wanted a ribbon mic, but also always getoutbid every time...

I wouldn't worry about it. :-) My main mics right now are a pair of
the MXL V67's, a Gold edition and a Mogami edition. I've also got a
pair of the 603s. I'm new at this as well (or, more accurately, this
level of recording), but I was a classical music major for 2 and a
half years.

Generally speaking, classical performers aren't isolated from each
other during a performance, to capture the full fidelity and spirit of
the piece. I'd be more worried about the fireplace and the 8'
ceilings than I would isolating everyone from each other. The
fireplace, if you're lucky, could be used as a bass trap. Roll up the
carpet and put it against the wall opposite the piano (or under it,
for that matter).

Do you have any ideas of the actual dimensions of the space?

Also, classical pieces are usually recorded in more lively
surroundings with a middling amount of ambient reverb brought in.

What you may want to try is half lid the piano, use the matched pair
as a stereo pair for the recording, and space one of the large
diaphragms out for ambience (may be just as good of an idea to reverse
this, and use the 2003's close in, and the 993's as the ambient pair).
Like I said, I'm new at this level of recording, so maybe one of the
pros'll chip in and tell you how much of an idiot I am. :-)

If you're lucky, you might be able to talk your quartet into letting
you try a few different mic positions, though it doesn't sound like
you'll have time.

>2. it's a piece by Shurhart (sp?) a Mozart contemp. piano quartet in
>something-or other (G?) at least the last (3rd) movement, but maybe 1st &/or
>2nd if there's time. the piano & violin carry the piece with just a few
>flourishes from the cello & viola.

Schubert? Fairly lively stuff, if I remember right. Not quite a
contemporary of Mozart's, but he did study under Salieri, Mozart's
main rival (rent Amadeus and watch it, fabulous movie).
jtougas

listen- there's a hell of a good universe next door
let's go

e.e. cummings
Anonymous
March 1, 2005 5:27:52 AM

Archived from groups: rec.audio.pro (More info?)

"jtougas" <jatougasNOSPAM@charter.net> wrote in message
news:s4582195c6r4luie3rj3df9oi56iv1nqn6@4ax.com...
> On Mon, 28 Feb 2005 22:29:19 -0800, "greggery peccary" <.@.> wrote:
>
> >1. i'm almost ashamed to tell you what mics i have on this NG, but i'm a
> >quite a newb in this biz and financially limited, anyway: all mxl's.
> >2-2003's and some of the mxl small diaphragms 993 pair and a 603-s. also
> >have a decent roland dynamic, but dont think it applies in this
situation. i
> >always wanted a ribbon mic, but also always getoutbid every time...
>
> I wouldn't worry about it. :-) My main mics right now are a pair of
> the MXL V67's, a Gold edition and a Mogami edition. I've also got a
> pair of the 603s. I'm new at this as well (or, more accurately, this
> level of recording), but I was a classical music major for 2 and a
> half years.
>
> Generally speaking, classical performers aren't isolated from each
> other during a performance, to capture the full fidelity and spirit of
> the piece. I'd be more worried about the fireplace and the 8'
> ceilings than I would isolating everyone from each other. The
> fireplace, if you're lucky, could be used as a bass trap. Roll up the
> carpet and put it against the wall opposite the piano (or under it,
> for that matter).
>
> Do you have any ideas of the actual dimensions of the space?
>
> Also, classical pieces are usually recorded in more lively
> surroundings with a middling amount of ambient reverb brought in.
>
> What you may want to try is half lid the piano, use the matched pair
> as a stereo pair for the recording, and space one of the large
> diaphragms out for ambience (may be just as good of an idea to reverse
> this, and use the 2003's close in, and the 993's as the ambient pair).
> Like I said, I'm new at this level of recording, so maybe one of the
> pros'll chip in and tell you how much of an idiot I am. :-)
>
> If you're lucky, you might be able to talk your quartet into letting
> you try a few different mic positions, though it doesn't sound like
> you'll have time.
>
> >2. it's a piece by Shurhart (sp?) a Mozart contemp. piano quartet in
> >something-or other (G?) at least the last (3rd) movement, but maybe 1st
&/or
> >2nd if there's time. the piano & violin carry the piece with just a few
> >flourishes from the cello & viola.
>
> Schubert? Fairly lively stuff, if I remember right. Not quite a
> contemporary of Mozart's, but he did study under Salieri, Mozart's
> main rival (rent Amadeus and watch it, fabulous movie).
> jtougas
>

actually it is Shurhart or Shuhart. an obscure composer of piano quartet
pieces, or so i'm told. definitely not Schubert (although i wish it was!).

the room is about 12X18 rectangle,
south wall is fireplace in the center with doorways on either side
west wall (12') is small window and a stairwell leading down no door
north wall is large picture window with no blinds or treatment
east wall (12') is picture window
piano sits along the east wall player's back to the north wall. if only
stereo pair is used, the strings will be in front of the piano. i will
hopefully have 30 minutes or so to try mike positions, but that's a
scramble!

that's interesting about the carpet, sounds like a good idea, except will
there be too much standing verb between the fllor & ceiling if the carpet is
gone?
Anonymous
March 1, 2005 12:57:47 PM

Archived from groups: rec.audio.pro (More info?)

In article <d0127p$1dv$1@gnus01.u.washington.edu> .@. writes:

> 1. i'm almost ashamed to tell you what mics i have on this NG, but i'm a
> quite a newb in this biz and financially limited, anyway: all mxl's.
> 2-2003's and some of the mxl small diaphragms 993 pair and a 603-s. also
> have a decent roland dynamic, but dont think it applies in this situation.

Hey, everybody has to start somewhere, and obviously you're just
starting. I'd use the 603s (whether they're the "matched pair" or not)
in a stereo configuration to pick up the whole group. Adjust the
seating and the mic position to get the best balance. If you need a
little extra detail on the piano, put one of the 2003s up for it, and
pan it in the mix so that it coincides with the position of the piano
in the stereo pair.

I take it this is a group that plays as a group. You won't be able to
fix a bad note on the viola with this setup. If someone makes a
booboo, you do another take, or re-take a few measures around the
mistake and edit.

Room acoustics is really important. Make sure that there's a place
where the group sounds good to you, and start out with that as the
place to put your main stereo pair.



--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
Anonymous
March 1, 2005 12:57:47 PM

Archived from groups: rec.audio.pro (More info?)

In article <d013vc$2ks$1@gnus01.u.washington.edu> .@. writes:

> about the room...well let's just say i'll be bringing some baffles. it's a
> rectangual room in a house with lots of reflective surfaces, area rug,
> hardwood floor, stone fireplace and 8 foot ceiling. i plan to use the
> baffles as LEDE as i can which means i likely wont be able to isolate the
> players from each other (maybe they wouldn't like this anyway).

They won't. Use the baffles to break up reflections from the walls.
Put them around the group, not between the members.


--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
Anonymous
March 1, 2005 3:12:30 PM

Archived from groups: rec.audio.pro (More info?)

On Tue, 01 Mar 2005 07:58:57 +0100, greggery peccary wrote:

> <mike.mermagen@gmail.com> wrote in message
> news:1109658864.819682.145510@o13g2000cwo.googlegroups.com...
>> It is possible and even desireable to mic a piano quartet with 2
>> microphones. This way, your stereo blend can be more natural. It is
>> very difficult to get this kind of natural blend by miking each
>> instrument separately and mixing. In the end, your approach will
>> greatly depend on the venue. Tell us more about the space and the tools
>> you have.
>> Mike
>>
>>
> about the room...well let's just say i'll be bringing some baffles. it's
> a rectangual room in a house with lots of reflective surfaces, area rug,
> hardwood floor, stone fireplace and 8 foot ceiling. i plan to use the
> baffles as LEDE as i can which means i likely wont be able to isolate
> the players from each other (maybe they wouldn't like this anyway).
> that's something to try though...like set up a couple mics first and see
> how it sounds. are you thinking high-up slightly panned?

Two microphones is a good start. Your bigest problem will be the room.
Try to move the furniture to fill the corners, preferably with big
leather chairs. You might think carpets do help, indeed they can help a
bit, but also have nasty side effects like narrow band absorbtion.
Often it helps to close the curtains, so the windows will not act as a
perfect mirror for sound. One major problem often is the ceiling, often
low, flat and very reflective.
--
Chel van Gennip
Visit Serg van Gennip's site http://www.serg.vangennip.com
Anonymous
March 1, 2005 7:43:19 PM

Archived from groups: rec.audio.pro (More info?)

"greggery peccary" <.@.> wrote:

> 1. i'm almost ashamed to tell you what mics i have on this NG, but i'm a
> quite a newb in this biz and financially limited, anyway: all mxl's.
> 2-2003's and some of the mxl small diaphragms 993 pair and a 603-s. also
> have a decent roland dynamic, but dont think it applies in this situation. i
> always wanted a ribbon mic, but also always getoutbid every time...
> 2. it's a piece by Shurhart (sp?) a Mozart contemp. piano quartet in
> something-or other (G?) at least the last (3rd) movement, but maybe 1st &/or
> 2nd if there's time. the piano & violin carry the piece with just a few
> flourishes from the cello & viola.

If I were you int this situation I would take the simplest approach. I
would choose the best-matched pair of small cap condensors and put them
into X/Y coincident cardioid configuration, and pull them back from the
ensemble until they heard everything clearly. I would stage gain to
leave sufficient headroom to avoid clipping absolutley, and let them
play the music.

--
ha
Anonymous
March 1, 2005 7:43:21 PM

Archived from groups: rec.audio.pro (More info?)

"greggery peccary" <.@.> wrote:

> about the room...well let's just say i'll be bringing some baffles. it's a
> rectangual room in a house with lots of reflective surfaces, area rug,
> hardwood floor, stone fireplace and 8 foot ceiling. i plan to use the
> baffles as LEDE as i can which means i likely wont be able to isolate the
> players from each other (maybe they wouldn't like this anyway). that's
> something to try though...like set up a couple mics first and see how it
> sounds. are you thinking high-up slightly panned?

Forget isolating the players. This is a pop recording. use two mics in a
stereo config, put them where they hear everything and hit <Red>.
Nevermind baffling, spot micing, and the rest. You have two ears. Use
two mics.

--
ha
Anonymous
March 1, 2005 7:43:22 PM

Archived from groups: rec.audio.pro (More info?)

"hank alrich" <walkinay@thegrid.net> wrote in message
news:1gsqlcl.1oiam3r7u333gN%walkinay@thegrid.net...
> "greggery peccary" <.@.> wrote:
>
> > about the room...well let's just say i'll be bringing some baffles. it's
a
> > rectangual room in a house with lots of reflective surfaces, area rug,
> > hardwood floor, stone fireplace and 8 foot ceiling. i plan to use the
> > baffles as LEDE as i can which means i likely wont be able to isolate
the
> > players from each other (maybe they wouldn't like this anyway). that's
> > something to try though...like set up a couple mics first and see how it
> > sounds. are you thinking high-up slightly panned?
>
> Forget isolating the players. This is a pop recording. use two mics in a
> stereo config, put them where they hear everything and hit <Red>.
> Nevermind baffling, spot micing, and the rest. You have two ears. Use
> two mics.
>
> --
> ha

that sounds like a good set up. maybe the baffles in the corners...i like
the XY 110 degrees idea. i usually mic guitar with the pair on a 90 degree
XY but this will likely be wider. i still have a coupple of weeks to think
about it. thanks to everyone for excellent your advice! very kind indeed
(esp for usenet :-o)!
Anonymous
March 1, 2005 11:13:23 PM

Archived from groups: rec.audio.pro (More info?)

"greggery peccary" <@.@> wrote:

> i like
> the XY 110 degrees idea. i usually mic guitar with the pair on a 90 degree
> XY but this will likely be wider. i still have a coupple of weeks to think
> about it. thanks to everyone for excellent your advice! very kind indeed
> (esp for usenet :-o)!

A pair of X/Y cardioids at right angles hears approx. 270 degrees of
nonseparation. Be careful opening that up, because the middle can
weaken.

--
ha
Anonymous
March 2, 2005 3:36:53 AM

Archived from groups: rec.audio.pro (More info?)

On Tue, 1 Mar 2005 01:16:39 -0800, "greggery peccary" <@.@> wrote:

>actually it is Shurhart or Shuhart. an obscure composer of piano quartet
>pieces, or so i'm told. definitely not Schubert (although i wish it was!).

Huh. Not that my classical knowledge is encyclopedic, but I've never
heard of him (and I *did* manage the recordings database for an NPR
station for 3 years). Let us know how it sounds.

>the room is about 12X18 rectangle,

From an acoustics standpoint, this worries me. This is where you're
going to want to bring your baffles into play. If the room is indeed
in a 2:3 ratio, you could be looking at all sorts of standing nodes.

>south wall is fireplace in the center with doorways on either side
>west wall (12') is small window and a stairwell leading down no door
>north wall is large picture window with no blinds or treatment
>east wall (12') is picture window
>piano sits along the east wall player's back to the north wall. if only
>stereo pair is used, the strings will be in front of the piano. i will
>hopefully have 30 minutes or so to try mike positions, but that's a
>scramble!

Will it be possible to move the piano at all? How long do you have the
room for? I'll second Mike's suggestion for the ORTF setup. I've
never had a chance to try it, but reading up on it leads me to think
it's your best bet (even better if you can get a hold of a Jecklin
disk).

>that's interesting about the carpet, sounds like a good idea, except will
>there be too much standing verb between the fllor & ceiling if the carpet is
>gone?

Depends on how soft'n'fluffy the carpet is. If it's shag, it'll
dampen a fair amount; if it's an Oriental rug... not so much. Which
isn't necessarily bad.

jtougas

listen- there's a hell of a good universe next door
let's go

e.e. cummings
Anonymous
March 4, 2005 2:21:36 PM

Archived from groups: rec.audio.pro (More info?)

"jtougas" <jatougasNOSPAM@charter.net> wrote in message
news:6oja21d3br6mp0uts006dcah6av13th1jk@4ax.com...
> On Tue, 1 Mar 2005 01:16:39 -0800, "greggery peccary" <@.@> wrote:
>
> >actually it is Shurhart or Shuhart. an obscure composer of piano quartet
> >pieces, or so i'm told. definitely not Schubert (although i wish it
was!).
>
> Huh. Not that my classical knowledge is encyclopedic, but I've never
> heard of him (and I *did* manage the recordings database for an NPR
> station for 3 years). Let us know how it sounds.
>
> >the room is about 12X18 rectangle,
>
> From an acoustics standpoint, this worries me. This is where you're
> going to want to bring your baffles into play. If the room is indeed
> in a 2:3 ratio, you could be looking at all sorts of standing nodes.
>
> >south wall is fireplace in the center with doorways on either side
> >west wall (12') is small window and a stairwell leading down no door
> >north wall is large picture window with no blinds or treatment
> >east wall (12') is picture window
> >piano sits along the east wall player's back to the north wall. if only
> >stereo pair is used, the strings will be in front of the piano. i will
> >hopefully have 30 minutes or so to try mike positions, but that's a
> >scramble!
>
> Will it be possible to move the piano at all? How long do you have the
> room for? I'll second Mike's suggestion for the ORTF setup. I've
> never had a chance to try it, but reading up on it leads me to think
> it's your best bet (even better if you can get a hold of a Jecklin
> disk).
>
> >that's interesting about the carpet, sounds like a good idea, except will
> >there be too much standing verb between the fllor & ceiling if the carpet
is
> >gone?
>
> Depends on how soft'n'fluffy the carpet is. If it's shag, it'll
> dampen a fair amount; if it's an Oriental rug... not so much. Which
> isn't necessarily bad.
>
> jtougas
>
> listen- there's a hell of a good universe next door
> let's go

i just got this from a friend in the group "I gave you the wrong composer.
The piano quartet we are playing on recording day is Johann Baptist Vanhal,
opus 40, number 1. Vanhal is a contemporary of Mozart, so the musical style
is most definitely in the Classical period." sorry for the confusion!
Anonymous
March 4, 2005 5:38:29 PM

Archived from groups: rec.audio.pro (More info?)

On Mon, 28 Feb 2005 20:56:48 -0800, "greggery peccary" <.@.> wrote:

>i have the opportunity to record a piano/violin/viola/cello group. this is
>something i've never tried but it sound challenging and exciting. i have 5
>condenser mics (3 sd, 2ld), two of which are matched pair. the only ribbon
>mic i can afford, if i even buy one is the nady rsm-2. the piano is a small
>(not baby) grand. my first impression is to use the pair of SDC's on the
>piano, one LDC on the cello, one LDC on the violin & viola and one extra SDC
>for the room...or maybe i wont mic the room and just put another on the
>piano, or isolate the violn & viola. any thoughts? thanks!


Put a stereo pair at a good-sounding point in the room. If there
isn't a good-sounding point, get the players to recognise this and
find a better room.

If you want a good performance, the most important thing is to allow
the players maximum contact. If you want to vary their preferred
seating arrangement, make sure it is with their complete agreement and
that player-to-player contact (aural and visual) isn't impaired.
Don't even THINK of separating the players like a pop session :-)

If you have spare mics and recording channels, sure, spot-mic everyone
as well. It can't hurt, and may be useful when you're mixing. But
remember, THEY are doing the balancing, not you.

CubaseFAQ www.laurencepayne.co.uk/CubaseFAQ.htm
"Possibly the world's least impressive web site": George Perfect
Anonymous
March 4, 2005 11:51:52 PM

Archived from groups: rec.audio.pro (More info?)

On Fri, 4 Mar 2005 11:21:36 -0800, "greggery peccary" <@.@> wrote:

>i just got this from a friend in the group "I gave you the wrong composer.
>The piano quartet we are playing on recording day is Johann Baptist Vanhal,
>opus 40, number 1. Vanhal is a contemporary of Mozart, so the musical style
>is most definitely in the Classical period." sorry for the confusion!

Doesnt make any difference to us. You're the one who's going to be
listening to it.

Often.

jtougas

listen- there's a hell of a good universe next door
let's go

e.e. cummings
Anonymous
March 5, 2005 3:26:13 AM

Archived from groups: rec.audio.pro (More info?)

"jtougas" <jatougasNOSPAM@charter.net> wrote in message
news:q34i21pta3q46rels1mtlalktmsa0sc8i8@4ax.com...
> On Fri, 4 Mar 2005 11:21:36 -0800, "greggery peccary" <@.@> wrote:
>
> >i just got this from a friend in the group "I gave you the wrong
composer.
> >The piano quartet we are playing on recording day is Johann Baptist
Vanhal,
> >opus 40, number 1. Vanhal is a contemporary of Mozart, so the musical
style
> >is most definitely in the Classical period." sorry for the confusion!
>
> Doesnt make any difference to us. You're the one who's going to be
> listening to it.
>
> Often.
>
> jtougas
>
> listen- there's a hell of a good universe next door
> let's go
>
np there. better than anything aimed at the <20 set!
Anonymous
March 5, 2005 5:29:04 PM

Archived from groups: rec.audio.pro (More info?)

On Sat, 5 Mar 2005 00:26:13 -0800, "greggery peccary" <@.@> wrote:

>np there. better than anything aimed at the <20 set!

Ain't that the truth...
jtougas

listen- there's a hell of a good universe next door
let's go

e.e. cummings
Anonymous
March 6, 2005 2:34:33 AM

Archived from groups: rec.audio.pro (More info?)

On Tue, 01 Mar 2005 20:13:23 GMT, walkinay@thegrid.net (hank alrich)
wrote:

>A pair of X/Y cardioids at right angles hears approx. 270 degrees of
>nonseparation. Be careful opening that up, because the middle can
>weaken.
>

That probably will not be a problem with 603s, which are wide almost
omni cardioids.


Willie K. Yee, M.D. http://users.bestweb.net/~wkyee
Developer of Problem Knowledge Couplers for Psychiatry http://www.pkc.com
Webmaster and Guitarist for the Big Blue Big Band http://www.bigbluebigband.org
!