It is likely to get a good, or very good,
placement for the two mics. It is unlikely, or
very rare, to get a perfect placement for the two mics.
I have done many recordings where we put the main
pair in the perfect position, then added insurance mics.
At the time of mastering the CD, you then have a
choice. You can use the main pair, exactly as if
you had only two mics. There would be no
difference than a situation where you only had two.
Or you can mix in some of the others.
In every single case, and there are many, many
cases, mixing in some of the other mics improved the sound. Every single time.
However, anyone is invited to do a CD with the
perfect main pair, and the extra mics--an ambient
pair, a spare main pair, a ribbon mic on the lute
and a spot mic on the neck-body join--and if the
sound cannot be improved I will send you a free microphone :)
Let's say that in 20 recordings, the main pair is
perfect 5 times (which would be a pretty good
track record). That means in the other 15 times
you can make a real difference in the sound.
And lets say that you have two main pairs, one
foot difference in distance. In 20 recordings,
you will find that in about three or four cases
you will actually prefer the alternate pair, and
that in half the cases you will prefer a ratio of the two main pairs.
Changing you mind: let's say that you get the
sound the way you like it, and you take it home,
and say, you know, it is too bright, too dry, too
wet, etc. Well, great news! You can change your
mind and fix it. But with two mics, you cannot
change your mind. You are trapped in the amber of the moment.
I change my mind all the time.
Future proof technology: recording in high bit
rates in a multi mic setup future proofs your
recording against changes in media technology.
As a final scenario, lets say the sound is either
bad, which happens, or good but not great. With
one pair, you can do nothing. With two pairs, you
can make it better. With six mics, you can make
it very good in 90 percent of the recordings, and
with eight to twelve mics, unless you are a total
klutz and forgot to turn the machine on, you will get a very good result.
Then there is gear malfunction. Suppose you bring
your two mics, and one of them has a slight buzz.
Well, you replace it on site. Except you only have two. Doh!
Let's say there is a gear malfunction, a slight
buzz, in two of the twenty pieces, and you don't
notice it untill after the recording. Happens all
the time. Happened to me twice in the last three
years. I hear it on CDs all the time. With a multi mic setup, you are still OK.
Of course if it is just a slight buzz, you can leave it in.
Parallel compression: lets say you want to use
parallel compression, well you need more mics.
Decca tree: let's say you have a great acoustic
and want to use a Decca tree. Well, you need
three mics. Decca tree sounds great!
Rotten acoustic: let's say you are in a rotten
acoustic. No problem--more mics will definitely fix it.
Fake reverb: let's say you hate fake reverb. Many
lute recordings use fake reverb. Put up another
four mics stretching to the back of the hall, and
make your own, REAL reverb. Does it sound better
than fake reverb? Yes, it does.
Why use fake reveb, if you can use real reverb?
However, the main point here is that with four or
six mics, each mic has its own independent track.
Six mics IS two mics, with four extra mics.
Therfore there is no reason not to use them, you
can just use the main pair. The main pair is a true subset of the multitrack.
Multitrack just allows you to leave the sound if
you like it, and change the sound if you don't. And it is big-time insurance.
If you want to release the CD in surround sound,
which of course sounds better if you have the
right system, you will also need those mics.
And, if you are doing video, closeups should have
a very slightly different mix than distance shots
to sound realistic. You can even automate the
ambient mics to follow the wide panning as the
camera moves away from the source.
The only reason not to use multitrack is that it
is less expensive to record and edit. You always
have the main pair as an embedded subset, so if
it is really better, you can still use it.
dt
I totally concur, Ned ! 2 excellent mics and
proper acoustics are largely sufficient for a lute !
Jean-Marie
=================================
== En réponse au message du 02-04-2010, 16:55:11 ==
>
> Well, recorded sound is a matter of taste, to be sure (it seems clear
> that there is no reference for "good" recorded sound). But I would be
> curious as to why dt feels so many - 6 or more - mics are necessary for
> recording a single instrument. Whether it's multi-micing or too
> much reverb - artificial or natural - that destroys the dall'Aauila CD,
> I think it represents a cautionary example of misguided recording
> engineering.
>
>
>
> Ned
>
> --
>
>
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