Originally Posted by Earcatcher ➡️

I try not to speak about it as to avoid being tantalizing while knowing it will not be public, at least for some more years. There are a few GS members though who actually use it, since I explained it to them, on condition of keeping it to themselves. For me, using the array is second nature by now and it is my go-to, especially for album recordings of finicky chamber music. But I know that some of those who are using it as well have difficulty sometimes wrapping their head around it and to make it work for them like it does for me. Since the array has a certain flexibility in optimisation, a good understanding of how its use can influence how it "listens" is needed to make it shine. Discussing the workings of the array in public will be pretty futile, as all sorts of misunderstandings are to be expected, along with the dismissiveness of certain "know-it-alls". Instead I try to use my collected knowledge to explain some of the deeper insights that it has given me and apply that info to how more known techniques work, so that everybody can enjoy the discussion and take something out of it.

Recently I was recording with ECA in a very famous concert hall and immediately the house technician came to me to find out what I was using. It showed me once more how greedy even well-established sound engineers can be to find better ways to get a good main array sound. I cannot afford to let the cat out of the bag on an internet forum, simply because finding enough of the good work is already difficult enough and there are a lot more readers than writers here. Especially given the huge investment I have made for researching all sorts of techniques and equipment, without any warranty of any ROI ever, I have to be cautious not to give away one of my most unique selling points. Hope you can understand that.