noob question about LDC and SDC for live recording
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noob question about LDC and SDC for live recording
My former sound reinforcement teacher records live orchestras with a spaced pair of SDC omnis. My question is, why not use LDCs? I thought that LDC mikes can represent a wider range of the frequency spectrum because of its larger diaphragm, meaning that the lower frequencies will be represented more accurately. I understand that the microphone manufacturer also comes into play, obviously, but theoretically?
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I understand it to be the opposite of how you put it 'el cannibalisto' Its harder for a microphones diaphragm to recreate High Frequencies Because it has to move really fast. So its its not light and fast then it can't reproduce the highs. thats probly why your teacher liked those SDC omni's.
"What a wonerful smell you've discovered"
Most people do tend to prefer SDCs for orchestras (especially distant miked), although as far as LDCs go, C414s and certain Neumanns are somewhat popular as well. One thing I've always wondered about is that I've heard that SDCs have a potentially higher self-noise. (I've not noticed this too much personally, except on MC-012s, which I do love, but which aren't built to the standards of Schoeps or Earthworks) First of all, why is this, and second of all, why would a potentially noisier mic be preferred on such a dynamic source? (Of course I've always put on an SDC pair in ORTF ot XY or orchestras and wind ensembles, just like everyone else....)
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In general, SDCs and in particular small omni mics, tend to have a more even and broad frequency response and tend to sound more neutral - I like to describe it as a 'clinical' sort of neutrality. That is, they DO cover a broad frequency range, and tend to do so with very little of their own coloration. As an example, an Earthworks QTC-1 omni has a response from about 5Hz to 40kHz, fully 3 octaves more than the 10 octaves that humans can hear.
Oddly enough, those microphones do also tend to have a very high self-noise. I've not really heard a good complete explanation to this issue, though I understand it has to do directly with that broad response (there is a lot of noise down there) and that the capsule moves SO quickly and SO easily that everything is picked up. I know there's more to it than that, but would have to look up the details as I've let that one slip since I just think of it as "small omnis are naturally noisy" - damn.
As for me, I move back and forth all the time between various types of microphones for live work. I believe that anyone who considers one type of microphone in one particular configuration to be the 'right choice' for anything live, is being rather foolish. I'll move between LDCs and SDCs, and between spaced omni, ORTF, XY, MS or other configurations depending on the size of the ensemble, the size and quality of the hall, and the nature of the recording. For example, a single spaced omni pair is fine for a small orchestra without a soloist, but for a larger group a main pair plus outriggers is better, and of course a soloist usually calls for a spot mic. On the other hand, a small recital hall with a string quartet might be better served by an ORTF pair, and if the track is destined for radio broadcast, then an XY or MS pair would likely be more appropriate. And if you're dealing with a younger group of string players, it wouldn't be unwise to use a darker, warmer sounding mic to minimize the effects of the uneven tuning and to make up for the thinner sound of lower-end string instruments. That is also very generalized, but shows some of the considerations of live recording.
-Jeremy
Oddly enough, those microphones do also tend to have a very high self-noise. I've not really heard a good complete explanation to this issue, though I understand it has to do directly with that broad response (there is a lot of noise down there) and that the capsule moves SO quickly and SO easily that everything is picked up. I know there's more to it than that, but would have to look up the details as I've let that one slip since I just think of it as "small omnis are naturally noisy" - damn.
As for me, I move back and forth all the time between various types of microphones for live work. I believe that anyone who considers one type of microphone in one particular configuration to be the 'right choice' for anything live, is being rather foolish. I'll move between LDCs and SDCs, and between spaced omni, ORTF, XY, MS or other configurations depending on the size of the ensemble, the size and quality of the hall, and the nature of the recording. For example, a single spaced omni pair is fine for a small orchestra without a soloist, but for a larger group a main pair plus outriggers is better, and of course a soloist usually calls for a spot mic. On the other hand, a small recital hall with a string quartet might be better served by an ORTF pair, and if the track is destined for radio broadcast, then an XY or MS pair would likely be more appropriate. And if you're dealing with a younger group of string players, it wouldn't be unwise to use a darker, warmer sounding mic to minimize the effects of the uneven tuning and to make up for the thinner sound of lower-end string instruments. That is also very generalized, but shows some of the considerations of live recording.
-Jeremy
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