Figure 8 uses
Figure 8 uses
Curious for what applications figure 8 mics are well-suited. M/S I understand is one common use. Also placing unwanted elements in its null spots. But what else?
I have a Beyer m130 that I bought for M/S in my one-person productions but what else should I check it on? Thanks.
I have a Beyer m130 that I bought for M/S in my one-person productions but what else should I check it on? Thanks.
Last edited by Rufer on Mon Dec 23, 2013 3:49 am, edited 2 times in total.
- A.David.MacKinnon
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Room mic with the null aimed at the source.
Duet vocals on the same mic (one singer on each side)
Singer/songwriter/guitar players - 2 fig 8s - one pointed at the guitar with the null aimed at the singers mouth, the other vice versa. Amazing isolation without isolation.
Close overheads that still have a nice room feel to them.
Duet vocals on the same mic (one singer on each side)
Singer/songwriter/guitar players - 2 fig 8s - one pointed at the guitar with the null aimed at the singers mouth, the other vice versa. Amazing isolation without isolation.
Close overheads that still have a nice room feel to them.
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Figure 8 mics are great on guitar amps, you get some room that is different from using a room mic. I also quite like Blumlein stereo because of how the space is represented.
As mentioned on a singer/guitar player you can do a lot to isolate the two sources. Personally on those sessions I like stereo guitar, so I often only have a figure 8 on vocal so that I have separation for EQ and compression.
I haven't used a Beyer M380 in years, but I think the concept of a figure 8 inside a bass drum makes sense.
As mentioned on a singer/guitar player you can do a lot to isolate the two sources. Personally on those sessions I like stereo guitar, so I often only have a figure 8 on vocal so that I have separation for EQ and compression.
I haven't used a Beyer M380 in years, but I think the concept of a figure 8 inside a bass drum makes sense.
I use them most often for acoustic singer/musicians who prefer to track all at once. As stated above you can aim the null points toward what you don't want and get pretty good isolation. We did a video explaining this technique (along with other techniques such as acoustic treatment) here:
http://youtu.be/Y_b3gwDzcVo
Also, Fig-8 mics tend have the most proximity effect, so this can sometimes be used to enhance the tone/low end of what you are recording....
http://youtu.be/Y_b3gwDzcVo
Also, Fig-8 mics tend have the most proximity effect, so this can sometimes be used to enhance the tone/low end of what you are recording....
- ott0bot
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all of the above.
also, I love using fig 8's for recording strings. if you have a small chamber group arranged in a 1/2 circle you can cleverly place fig 8 mics to null out the direct sound from other stings to a large degree, and still capture some of the room plus some pleasing bleed. this gives the performance a naturally captured feel and you can just do a volume increase to "feature" a certain instrument without having an unnatural volume shift that sounds like a punch.
in a addition if you are tracking vocalists that have trouble recording with headphones (opera, choral, falsetto, etc.) you can place small monitor in the null and help them get a better performance.
also, I love using fig 8's for recording strings. if you have a small chamber group arranged in a 1/2 circle you can cleverly place fig 8 mics to null out the direct sound from other stings to a large degree, and still capture some of the room plus some pleasing bleed. this gives the performance a naturally captured feel and you can just do a volume increase to "feature" a certain instrument without having an unnatural volume shift that sounds like a punch.
in a addition if you are tracking vocalists that have trouble recording with headphones (opera, choral, falsetto, etc.) you can place small monitor in the null and help them get a better performance.
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If I'm recording group vocals in a less than ideal room or if I want them to be more direct sounding I'll put up 2 figure-8s set up like a Blumlein pair but submix it to mono. Especially if the plan is to double the part. It gives me a little more control than just throwing up an omni and less floor/ceiling reflections. Plus I can feature on mic or another if I need to balance the singers before recording.
Also you can record a figure 8 with an omni and blend them to make a new pattern later.
Also you can record a figure 8 with an omni and blend them to make a new pattern later.
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The one I would disagree with would be duet vocals. This application has not panned out/paid-off in my experience. You do not get an even response from both sides (perhaps you do with the most expensive, top-level mikes; I don't know), you are stuck with a single vocal track, you have to make volume adjustments with envelopes rather than separate faders/controls (if you are in-the-box, otherwise, you can't control the vox separately at all), and the same is true of EQ, compression, any FX, etc.
It's a great sounding idea, but just stick with two cardioids and two separate tracks for each singer; you'll thank yourself later...
GJ
It's a great sounding idea, but just stick with two cardioids and two separate tracks for each singer; you'll thank yourself later...
GJ
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It is fairly singer dependent. You have to play with each singer's distance from the mic, plus the tone of the singers voice does need to work is a similar fashion. I think the last time I did it, I did end up multing the signal when mix time came about. I will more often than not just use two mics as well.Gregg Juke wrote:The one I would disagree with would be duet vocals. This application has not panned out/paid-off in my experience. You do not get an even response from both sides (perhaps you do with the most expensive, top-level mikes; I don't know), you are stuck with a single vocal track, you have to make volume adjustments with envelopes rather than separate faders/controls (if you are in-the-box, otherwise, you can't control the vox separately at all), and the same is true of EQ, compression, any FX, etc.
It's a great sounding idea, but just stick with two cardioids and two separate tracks for each singer; you'll thank yourself later...
GJ
- losthighway
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I think there is something about the null on a figure 8 that makes it really handy in certain tracking situations. I've found numerous situations when I was tracking multiple musicians with a multi-pattern LDC where picking the fig 8 pattern helped my positioning/separation a lot.
I also love them for the two mic, solo singer/acoustic guitarist. Usually a ribbon on the guitar angled so the null cuts out the vocals, and a tube LDC on the voice with the null pointed at the guitar. Amazing separation and much cleaner without the phase issues.
I also love them for the two mic, solo singer/acoustic guitarist. Usually a ribbon on the guitar angled so the null cuts out the vocals, and a tube LDC on the voice with the null pointed at the guitar. Amazing separation and much cleaner without the phase issues.
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I thought I responded to this yesterday... Super cool video, thanks for sharing.JWL wrote:I use them most often for acoustic singer/musicians who prefer to track all at once. As stated above you can aim the null points toward what you don't want and get pretty good isolation. We did a video explaining this technique (along with other techniques such as acoustic treatment) here:
http://youtu.be/Y_b3gwDzcVo
Also, Fig-8 mics tend have the most proximity effect, so this can sometimes be used to enhance the tone/low end of what you are recording....
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I have to agree with Blumlein as well. It's a great way to capture a source in stereo and still get the room in there as well. Won't work well in a bad room, obviously.
Blumlein center with omni outriggers is my favorite setup for classical in a nice sounding hall - well, when a Decca Tree with outriggers isn't an option, or isn't practical for some reason.
Blumlein center with omni outriggers is my favorite setup for classical in a nice sounding hall - well, when a Decca Tree with outriggers isn't an option, or isn't practical for some reason.
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