Quote:
Originally Posted by
joelpatterson
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This came up yesterday... and we agreed it had to be one of the existential questions of our time... but then I blurted out, "But... it's not that mono..."
Here we were in a massively spacious stone church, and the orchestra and two (!) pianos smashed up against the space infront of the first pews (for a really nicely done "Carnival of the Animals" with dueling student piano players.)
Naturally I hung the set of CM4's high and wide above, furthest out on either side, and then the set of 441's (both in mono) closer in BUT OUT OF THE SIGHT LINES! in the blocked off first pew. (Actually: the first pew wasn't s'posed to be blocked off-- the mics ended up on the orchestra side of the little divider wall.)
Now-- these mono mics, mostly to get definition and clarity of the dueling pianos-- it has to be the case that with the membrane of the diaphragm facing the piano, that has to sound clearer than if it was turned to the side? With the vibrations either hitting the mic, or racing by on the side? It's not that mono... right?
You seem to be confusing mono and omni.
The 441 is a supercardioid. I assume you mean you're not using them as stereo pairs, but as mono spots? In either case a supercard is highly directional.
But, yes, since it's has a large diaphragm, it will be even more directional in the top couple of octaves than the rest of the range, so off-axis sources will not only be lower in level, but duller as well.