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johnny p.
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Miking Technique

This one's for JA -

I was reading an old audiophile magazine recently (not Stereophile) and in it was a piece about miking techniques. The writer said there were 3 main types - multi-miking, spaced (3 symmetrical - like RCA and Mercury) and one-point (Blumlein).

But in examining the techniques used in the vast majority of audiophile recordings, I found that none of these apply. Maybe multi-miking does, but these seem to use two mains, with spot mikes in the backdrop. In other words, mostly purist. And this would be far from pop music - which mikes to death and requires heavy processing later.

No, most of our music seems to be sourced from 2 (main) spaced mikes - not 3, like the classic RCA's. Is this true ? If those recordings are so cherished, why aren't (quality) labels employing an array like they did ?

Thank You

John Atkinson
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Re: This one's for JA

johnny p. wrote:
I was reading an old audiophile magazine recently (not Stereophile) and in it was a piece about miking techniques. The writer said there were 3 main types - multi-miking, spaced (3 symmetrical - like RCA and Mercury) and one-point (Blumlein).

That's basically correct.

Quote:
most of our music seems to be sourced from 2 (main) spaced mikes - not 3, like the classic RCA's. Is this true?

Not to the best of my knowledge. I know Bud Graham did ome great piano recordings for Sony using a spaced pair of DPA omnis, and Stan Ricker did some recordings for Delos in the eary 1908s using a spaced pair of omis, as did David Wilson. But such recordings are pretty rare. Can you give some examples?

John Atkinson

Editor, Stereophile

johnny p.
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Well I know that Pentatone

Well I know that Pentatone uses 2 spaced mains for their (2 channel) recordings. They use 3 front mains for their multi-channel releases.

So I guess if 2 spaced mains are rare...and we know that audiophile labels don't multi-mike (nor use Blumlein), we can deduce that most use 3 mikes - spaced. By "main" I mean frontal, not rear ambience, pickup.

Would you agree ?

And while I got you, do you feel that (quality) labels capture the full dynamic range of a symphony orchestra ? I ask because back in 1992, under the artlcle "How Hi-Fi are Stereo Discs ?", you said that such recordings are rare.....

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