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<blockquote data-quote="Dick Rees" data-source="post: 66180" data-attributes="member: 16">Re: DPA 4099 variationsJason....From what I&#039;ve done with grands for live sound, broadcast and recording I&#039;d channel Ivan and say, &quot;It depends&quot;.&nbsp; In doing live broadcast and working with engineers such as David Oakes, I&#039;ve gotten splits on a lot of different setups including:pair of ribbons L/R just on the inside of the hammerspair of LDC&#039;s low/high about 1/3 of the way back from the hammers57 in the holeand many more.&nbsp; Sometimes there would be a 184 all the way down at the end on a full-size grand in addition to a low/high pair.I can say that the one that sounded the best to me and had the least bleed from loud monitors was the pair of ribbons.&nbsp; The &quot;velocity&quot; response was the most natural and dynamic sound I&#039;ve ever heard and was especially necessary for any pianist to whom touch is paramount.</blockquote>

[QUOTE="Dick Rees, post: 66180, member: 16"] Re: DPA 4099 variations Jason.... From what I've done with grands for live sound, broadcast and recording I'd channel Ivan and say, "It depends". In doing live broadcast and working with engineers such as David Oakes, I've gotten splits on a lot of different setups including: pair of ribbons L/R just on the inside of the hammers pair of LDC's low/high about 1/3 of the way back from the hammers 57 in the hole and many more. Sometimes there would be a 184 all the way down at the end on a full-size grand in addition to a low/high pair. I can say that the one that sounded the best to me and had the least bleed from loud monitors was the pair of ribbons. The "velocity" response was the most natural and dynamic sound I've ever heard and was especially necessary for any pianist to whom touch is paramount. [/QUOTE]

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