Dear Mike Skeet leant me this 4 capsule beast and this week I've done an opera in a
garden cloister, a 14 voice plainsong choir in Gloucester Abbey, a Trumpet ,Soprano and
Organ in Cirencester Abbey and Evelyne Glennie and a 16 pc string Orch in Cheltenham Town
The results are excellent,light and airy top but with meaty bottom end.
I have arranged the 4 fixed capsules in Fig 8 MS.
Because the capsules are back to
back in pairs they are not exactly coincident, and when I null one pair the depth of null
is not the same as with a single capsule (MKH 30)
This gives rise to some location
annomalies in metering and cans monitoring, but sounds fine on the Quads at home.
Top capsule ch 1, + phase pan centre and ch2, - phase pan centre.
S = Bottom capsule
ch3, + phase pan left and ch4, - phase pan right.
Direct to stereo
I need a jellyfish display, but I press the mono button a lot, just to reassure myself.
There is so much phase information bouncing around Abbeys and Cathedrals, especially
with sopranos and trumpets, and Evelyns percussion was coming from every surface to.
Im trying for lower mike position than above the conductors head, as I usually
Its difficult in live audience performance.
Last night I was in front of the
conductor,just below eyeheight ,for eye contact.
Very intimate sound, instead of the
birds eye view, very Hollywood sound stage.
Enjoyed it for a change.
performers were on the floor ,instead of the stage, which was draped off, the audience was
on stadium risers.
Sounded better than the normal 'TownHall' sound.
characteristic sound is different from my MKH 20/30/40 MS pairings, and the all in one
construction is a boon, but the phase coincidences sometimes look alarming and monitoring
on cans in that situation needs experience.
I am the Walrus.