@@dasiek363 0:53 is mid-side. The mic being used is literally just a mid-side mic setup combined in one unit since it has both a cardioid and figure eight.
Hi Marco! The placement of the microphones in relation to the sound source allows for “artistic expression” as there is not a single answer. The closer the microphones are to the sound source, the more anechoic (dry) signal will be captured whereas the further away they are, the acoustics of the location will play a more significant part in the sound being captured. A general starting point may be placing the microphones within their pickup acceptance angle to the sound source. If the quartet is in a semi-circle, place the microphones at the centroid. Thanks! - A-T USA
Nope. The image should reflect the actual sitting of the instruments from the listener perspective. Still, for me the three cases have to heavy panning. I'd reduce it to 60% of that. No one sits where the mics are.
Agree, i felt the same. Since the musicians are mixing themselves, the chello should be put in the back of the quartet, the chello sound is too dominant now
Sincere thanks for the effort, but as Professor of audio engineering for 30+ years and a recording engineer of more time, I have to say that the room is unacceptable and/or the placement too close. Too much early reflection---especially for the genre---and the sound in smeared with phase interference.
Why do you always use large diaphragm microphones?? When I do Blumlein or M/S, I only use small diaphragm microphones! The distance between the two microphones must be as small as possible for both, Blumlein or M/S! That's why such an arrangement with two large membranes is an "orangutan-like" arrangement! And: Large-Diaphragm-Microphones in Recordings with string-ensembles ??? Oh no !!!!
