You could have 2 capsules in the same direction and use 2 different pre-amps or set at different gain settings in the case of say soft verse / loud chorus. You can use 1 capsule to 1 track at say 45dB gain and the 2nd at say 30dB and recording to 2 separate tracks in PT. The other option is say an effect track with a particular compressor etc. and have a clean track...lots of options.
The additional inputs allow you to use the breakout box with a standard M/S configuration (using a separate cardioid and figure-8 mic -- plug the figure-8 into the "side" input and it'll be passed through to the "BOTTOM" output, plug the cardioid into the "mid" input and it'll be passed through to the "TOP" output, but also flipped phase and sent to the "TOP ∅" output. Just makes the box a bit more flexible.
2 omnis facing the same direction: Using the reverse polarity output of the top and the normal polarity output of the bottom creates a differential pair. With the sound source aimed at the bottom, anything entering both capsules at the same time will be by and large cancelled out. No proximity effect and minimal leak from other sounds.
I wonder how this mic would sound placed right at the top of the semi-circle of the string quartet. I think it might be fantastic for a quick-and-dirty capture of a live performance.
OK. I have a similar mic though it costs a bit less, I believe. There aren't many out there (dual LDC stereo mics) but I don't want to upset the apple cart; no idea how the one I bought compares, but again, conceptually it's down to the same. If this has the same functionality as does mine (hopefully (switches, patterns and the like)) then my comments should be reasonably correct; there may be other things done in hardware I'm not aware of, but conceptually I'm OK with what I have written. So...why one might want to face the in one direction is as follows: All first-order microphone patterns comprise two elements: a velocity element (figure 8) and a pressure component (omni). If you orient both capsules alike but switch one to velocity and the other to pressure then in post you can vary the signals to go from omni to velocity and in-between. That is, you can create a sub-cardioid, cardioid, super cardioid and so on - all in post. What's the down side? Well, you're talking about using two elements of a mic to allow you flexibility in post. This could be vitally important or sound be inconsequential, depending upon the type of recording as well as how reverberant is the space, size of the instrument relative to the notes it produces and so on. You can see how this could be handy though, especially if you pressed another of these into service because now (with a 2nd mic) you could (for example) set up an ORTF (each pair of elements pointing away from each other at 55 degrees and the 6.75 inch distance). This would allow you - an any time - to alter the pattern of each mic, and if you combined it with some EQ you could effectively alter the pattern (but NOT the direction) from the two elements and have three mics (for example) from each mic pair (low, mid, high). Schoeps did something like this but it can be done relatively easy with any competent EQ (just be careful to match slopes for the LP and HP when setting the BP. You can't get two diaphragms more co-located than this approach, so that makes the usable bandwidth (w/o fear of any comb filtering due to distances) about as wide as can be. Anyway, If you wanted to alter direction AND the angle (and elevation) in post then you'd need a soundfield mic in B-format as this would give you the MS pairs that you would need, but in this case one CAN steer the pattern and suddenly you're eating up channels. Like the Antone though, to have ORTF for (example ) you'd need two soundfield mics (8 channels in all, which should be gain-locked as should the "brand X" mics that I have). The brand X mic that I have I really like, but this sounds every bit as good to me. It's a great mic. Happy that I bought mine. I'm actually looking to trade two M30s for another "Brand X". You can also use it as someone pointed out to be a "noise canceling" mic a la Bear's Grateful Dead technique. Mics like these are very versatile. I wish more people knew about this mic; when you need accurate stereo, there are a bunch of options here.
technically speaking, an omni capsule with 2 flat diaphragms is not truly omni. As the angle of coincidence of longitudinal acoustic energy increases, the ability of the diaphragm to pick up higher frequencies decreases. Hence, why people often use U87s at a 20-45 degree angle to the single to roll off HF naturally. So when you talk into an omni capsule from the side, it sounds different from the front (although the combination of the front and rear diaphragm pickups still approximates high frequency response decently). Thus, why James put the top capsule at 90 degrees and both in omni - now there's diaphragms at every 90 degrees instead of every 180, so the null points of HF are tremendously reduced. Hope that explains it :)
in many smaller-setup cases there may not be an appreciable difference. For a larger array of sound sources and in larger rooms, there is indeed a difference to be heard, particularly when the microphone is positioned near the middle of the room with sound sources arrayed in multiple directions. It certainly depends on the room and source material whether it's useful or not in practicality, as you mentioned. I'm starting to become more partial to Blumlein myself (it offers a higher degree of stereo separation than XY) but XY and Mid-Side are also very easily achieved with the V44S. Offering omni as an option for less conventional techniques was as easy as adding a 3-way ON-OFF-ON switch as opposed to 2-way ON -ON switch,, so it seemed to be the right choice even if the vast majority of people may never use it. -DEREK at Vanguard
Mình mời chỉ mua em Vanguard v13 tại musictool.vn/condenser-mics-cat-3930-vn.html chưa chưa có em này. Nhưng sản phẩm của hãng này rất tốt theo đánh giá của riêng mình
![[UNCUT] The Loyal Pin ปิ่นภักดิ์ EP.6 (1/4)](http://i.ytimg.com/vi/m05kZ2GDKXg/mqdefault.jpg)
You could have 2 capsules in the same direction and use 2 different pre-amps or set at different gain settings in the case of say soft verse / loud chorus. You can use 1 capsule to 1 track at say 45dB gain and the 2nd at say 30dB and recording to 2 separate tracks in PT. The other option is say an effect track with a particular compressor etc. and have a clean track...lots of options.
its one xlr cable tho, not two, so one channel recording, im not sure how he gets stereo though
@@ruthlesscutthroat4030 hi, no there are 2 XLR outputs from the little box. Multipin from the mic.
@@SuperMario-hl7jo ah ok that makes sense
The additional inputs allow you to use the breakout box with a standard M/S configuration (using a separate cardioid and figure-8 mic -- plug the figure-8 into the "side" input and it'll be passed through to the "BOTTOM" output, plug the cardioid into the "mid" input and it'll be passed through to the "TOP" output, but also flipped phase and sent to the "TOP ∅" output. Just makes the box a bit more flexible.
2 omnis facing the same direction: Using the reverse polarity output of the top and the normal polarity output of the bottom creates a differential pair. With the sound source aimed at the bottom, anything entering both capsules at the same time will be by and large cancelled out. No proximity effect and minimal leak from other sounds.
I wonder how this mic would sound placed right at the top of the semi-circle of the string quartet. I think it might be fantastic for a quick-and-dirty capture of a live performance.
Love this company. Have a V13 this is next as well as a matched set of the new V4.
What was this plug into? Like what mixer or recorder? I forget.
OK. I have a similar mic though it costs a bit less, I believe. There aren't many out there (dual LDC stereo mics) but I don't want to upset the apple cart; no idea how the one I bought compares, but again, conceptually it's down to the same. If this has the same functionality as does mine (hopefully (switches, patterns and the like)) then my comments should be reasonably correct; there may be other things done in hardware I'm not aware of, but conceptually I'm OK with what I have written.
So...why one might want to face the in one direction is as follows: All first-order microphone patterns comprise two elements: a velocity element (figure 8) and a pressure component (omni). If you orient both capsules alike but switch one to velocity and the other to pressure then in post you can vary the signals to go from omni to velocity and in-between. That is, you can create a sub-cardioid, cardioid, super cardioid and so on - all in post. What's the down side? Well, you're talking about using two elements of a mic to allow you flexibility in post. This could be vitally important or sound be inconsequential, depending upon the type of recording as well as how reverberant is the space, size of the instrument relative to the notes it produces and so on. You can see how this could be handy though, especially if you pressed another of these into service because now (with a 2nd mic) you could (for example) set up an ORTF (each pair of elements pointing away from each other at 55 degrees and the 6.75 inch distance). This would allow you - an any time - to alter the pattern of each mic, and if you combined it with some EQ you could effectively alter the pattern (but NOT the direction) from the two elements and have three mics (for example) from each mic pair (low, mid, high). Schoeps did something like this but it can be done relatively easy with any competent EQ (just be careful to match slopes for the LP and HP when setting the BP. You can't get two diaphragms more co-located than this approach, so that makes the usable bandwidth (w/o fear of any comb filtering due to distances) about as wide as can be.
Anyway, If you wanted to alter direction AND the angle (and elevation) in post then you'd need a soundfield mic in B-format as this would give you the MS pairs that you would need, but in this case one CAN steer the pattern and suddenly you're eating up channels. Like the Antone though, to have ORTF for (example ) you'd need two soundfield mics (8 channels in all, which should be gain-locked as should the "brand X" mics that I have). The brand X mic that I have I really like, but this sounds every bit as good to me. It's a great mic. Happy that I bought mine. I'm actually looking to trade two M30s for another "Brand X".
You can also use it as someone pointed out to be a "noise canceling" mic a la Bear's Grateful Dead technique. Mics like these are very versatile. I wish more people knew about this mic; when you need accurate stereo, there are a bunch of options here.
thanks guy!
i thought the 45 degrees thing, is proper stereo, and the front facing cardiod, side facing figure 8 is blumlein mid side setup.🤔
Quick question, daddy Benjamin here-- I bought this crème soap with plum flavor but can I also use it as lube?? Thanks,,
¯\_(ツ)_/¯
I don't actually get "pointing" omni capsules, because no matter how you "point' them they're still picking up all round .
technically speaking, an omni capsule with 2 flat diaphragms is not truly omni. As the angle of coincidence of longitudinal acoustic energy increases, the ability of the diaphragm to pick up higher frequencies decreases. Hence, why people often use U87s at a 20-45 degree angle to the single to roll off HF naturally. So when you talk into an omni capsule from the side, it sounds different from the front (although the combination of the front and rear diaphragm pickups still approximates high frequency response decently). Thus, why James put the top capsule at 90 degrees and both in omni - now there's diaphragms at every 90 degrees instead of every 180, so the null points of HF are tremendously reduced. Hope that explains it :)
nice in theory. in practise, I can't see a benefit to 90 degree omnis in stereo.
in many smaller-setup cases there may not be an appreciable difference. For a larger array of sound sources and in larger rooms, there is indeed a difference to be heard, particularly when the microphone is positioned near the middle of the room with sound sources arrayed in multiple directions. It certainly depends on the room and source material whether it's useful or not in practicality, as you mentioned. I'm starting to become more partial to Blumlein myself (it offers a higher degree of stereo separation than XY) but XY and Mid-Side are also very easily achieved with the V44S. Offering omni as an option for less conventional techniques was as easy as adding a 3-way ON-OFF-ON switch as opposed to 2-way ON -ON switch,, so it seemed to be the right choice even if the vast majority of people may never use it. -DEREK at Vanguard
I'm sure the mic is eminently usable. I'd love to try one. But that technique is simply not a 'thing'.
Seems your L/R is reversed?
Mình mời chỉ mua em Vanguard v13 tại musictool.vn/condenser-mics-cat-3930-vn.html chưa chưa có em này. Nhưng sản phẩm của hãng này rất tốt theo đánh giá của riêng mình
Phaseeee