mic position question/feature request

I use a live and previously in the mic'd cab days a lot of times i would put a 57 at an angle off axis. would it be possible to create a capture master with pics in an off axis position like they do with the on axis position now? it would be kinda cool to be able to have a 57 on axis or a version off axis

I like the idea, would you be willing to lose a) a mic option ie instead of 8 mics, a Torpedo file has 4 mics, on or off axis or b) the rear option would instead be the mics off axis. Guillaume would need to advise of the s/w would be modified or if the graphic would look still like a reversed position...

lose the rear mic, i know not all miss sound good off axis but like a 57 i love them on a 45 degree angle to the cab. i would just try it with a greenback 4x12 and do the capture with the 57 at a 45 degree angle like you would a on axis mic

Another vote for off-axis 57!

On the other hand, I dearly love the rear mic position on open-back cabinets. From several sources, I heard that was how Roy Buchanan got his recorded sound — rear micing a blackface fender that was dimed and controlling his volume and tone from his Tele.

The rear mic choice on closed-back cabs, though, makes next to no sense as I've never heard of anybody actually using that micing position in real life situations.

OK, so here's a few more questions

1) which mics are best for having an off axis option other than the 57?

2) Is there interest for the rear pattern of a ribbon?

3) Is there interest for condensors in omni or F8 mode as available?

Omni, Figure of Eight and ribbon rear are mostly good for capturing a larger degree of room ambience (albeit with variances in phase cancellation characteristics), in my experience. Granted, with the new IR reverbs, that could be an advantage.

Since I've got a C.A.B., it wouldn't really apply to my current gear, but capturing IR spaces with a Blumlein pair for units with stereo capabilities would be kinda cool, says my inner recording nerd.

Very interesting...... not for CAB or Live but if we do something like Prime A/ PrimeB or Pinnacle HI /Pinnacle HG amongst others, we could do a partial stereo mic'ing whereby when the 2 cabinets are loaded, the respective mics of the stereo pair are available. I have a Jecklin disc that could be used. The Studio or WOSIII could simultaneously load the matched cabinets.

The issue may be that the mics typically used in Blumlein pair or Jecklin disc are small diaphragm condensors..... great for room mics but pretty unflattering close mic'ing guitar cab....imho.....perhaps Sylvain at Mirador could contribute...he's done some captures using these mics.

So in my opinion, in we did this......these mics, say one of the 8 for each cabinet would be best used far away and not be useful otherwise. The drawback is that less experienced users may have a negative experience not knowing the application......

Haha ! Back to the future !

We have this project for the 2017's beginning !

We want to make some extra captures.
They will include Blumlein, XY and ORTF stereo couple.

For each couple, two mics. One for the left, one for the right.
For example Blum4038 L and Blum4038 R
Link the positions and you can virtually moove the couple into the room !!!!!!!!

Most of the Blumlein pairs I've done have been with ribbons, rather than condensers. A pair of AEAs or Royers make for a great image.

sysexguy":2oku7vq4 said:

The drawback is that less experienced users may have a negative experience not knowing the application......

Click to expand...

Back in the days when I was writing manuals for Line 6 (AX2 through the rack versions of the effects pedals), our biggest challenge was educating users who might not be that experienced with the original amps — what they were good at and what they weren't. Part of the charm of an early AC15 or AC30, for example, is the under-designed power supply leaking AC frequencies back into the audio path. While at lower gain, it adds a certain personality to the sound, when you crank the gain and the amp starts trying to pull more amperage than the power supply is comfortable with, you start getting modulation artifacts of sum and difference tones with 50Hz or 60Hz (depending where in the world you are). So, someone would try and use an accurate AC30 model as a high-gain amp, get the modulated "following" tones, and assume that something was broken. Many vintage amps have those kinds of quirks that, if not expected or understood, could be a frustrating experience for the user. The more a user knew about the gear and how it was designed and intended to be used, but better choices they could make when searching for a particular tone they were hearing in their head.

...another vote for 45* off-axis, and stereo IR's via stereo pairs as well for Studio/WOSIII etc.

As to what to lose, tough one, but personally I never use the RE20 or kick drum mics with guitar cabs, and agree regarding the rear mic on closed back cabs.

It needs to be remembered that going for room tones is limited by the roughly 18ms IR length, though getting the tonality and using a room sim to add length should work ok as well?

Working on Blumlein and XY captures. It will probably give us good tilt options

+1 vote for 45° captures