It is common for directional microphones to have an attenuated-sounding low end when mic'ing distant sources, so EQ is certainly warranted in this situation.qbert1 wrote:Kroy
One thing I found with my Earthworks SR71's (an older model Earthworks cardioid) when recording choir, is at a distance the lows and low-mids drop off a bit too much. I believe your SR25's were designed with the same voicing in mind - a philosophy that a mic close up should employ a flat frequency response rather than a boost of lows. It's the proximity effect working in a different way.
I found my self boosting 100 with a wide-ish Q 3-6 dB's to compensate during mix down. A little more work but a really nice result.
Good luck and have fun! Choir gigs can be a blast.
I have one of the older Naiant transformer based omnis, and due in part to the transformer, it also has a rolled-off low end. Something to keep in mind, since omnis are generally known for an even low frequency response.
I would recommend doing experiments with your microphones... play with them outside of actual recording gigs! Plumb their properties with the most excellent monitoring available to you. That way when you're faced with a pro or semi-pro situation you'll have more experiences on which to base your decisions.
Oh! And read this article! http://www.tape.com/resource/stereo_rec ... dures.html