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<blockquote data-quote="Kip Conner" data-source="post: 25213" data-attributes="member: 445">Re: Congas... What your favorite mic?Interesting thoughts on this rule. Seems to me if you know the actual phase response of the mics you plan to use you can decide whether or not cancellations are going to be a problem. Moving one mic 3 feet away is just not practical in a live situation unless you were using iso-boxes on an amp. I have always thought of microphones in the same way I think about speakers in terms of placement and the phase relationship. If we know the phase response is the same, it becomes about time.When I first heard someone tell me that my mics were too close in the studio and that it wouldn&#039;t work they tried to recite the principles behind this idea. I knew they knew nothing about phase of transducers- the person had a strong understanding of Polarity, but not Phase. This engineer was a drummer and I told him he better rethink how he mics his drum kit if that was the principle. He was more concerned about the phasing of his room mic on the drum kit rather than the sound. I showed him how to get the sound he wanted out of the room mic based on it&#039;s proximity and then add a little delay to clean-up the phase interaction. Although this is a controlled studio environment you could apply the same principles to the live stage. You just have to have a tool for showing you phase display across the frequency scale that will show you the manipulations. It&#039;s just not a simple as the rule implies, which is why I&#039;m so baffled by it. And thanks for the great discussion!</blockquote>

[QUOTE="Kip Conner, post: 25213, member: 445"] Re: Congas... What your favorite mic? Interesting thoughts on this rule. Seems to me if you know the actual phase response of the mics you plan to use you can decide whether or not cancellations are going to be a problem. Moving one mic 3 feet away is just not practical in a live situation unless you were using iso-boxes on an amp. I have always thought of microphones in the same way I think about speakers in terms of placement and the phase relationship. If we know the phase response is the same, it becomes about time. When I first heard someone tell me that my mics were too close in the studio and that it wouldn't work they tried to recite the principles behind this idea. I knew they knew nothing about phase of transducers- the person had a strong understanding of Polarity, but not Phase. This engineer was a drummer and I told him he better rethink how he mics his drum kit if that was the principle. He was more concerned about the phasing of his room mic on the drum kit rather than the sound. I showed him how to get the sound he wanted out of the room mic based on it's proximity and then add a little delay to clean-up the phase interaction. Although this is a controlled studio environment you could apply the same principles to the live stage. You just have to have a tool for showing you phase display across the frequency scale that will show you the manipulations. It's just not a simple as the rule implies, which is why I'm so baffled by it. And thanks for the great discussion! [/QUOTE]

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