Phase cancellation and stereo signal correlation may concern a mastering engineer, especially.
Roger Louis wrote:Hi and thanks for your reply!
Well before buying anything I'd like to understand a bit more how others do
Furthermore I think that it must bit worked at best at the source before adding anything else above it.
Most may agree standard and pro versions permit precise control and selection of individual microphones. Which might work towards your own goals, whenever you decide an upgrade is needed. An upgrade to one of those versions permits —with possibly one exception— the following setups when needed:
Mixed Stereophony
EBS
Stereophony:Mixed
Width:0.25m
Angle:90 deg
Capsules:2 x Cardioid
NOS
Stereophony:Mixed
Width:0.3m
Angle:90 deg
Capsules:2 x Cardioid
ORTF
Stereophony:Mixed
Width:0.17m
Angle:110 deg
Capsules:2 x Cardioid
GHS
Stereophony:Mixed
Width:0.6m
Angle:90 deg
Capsules:2 x Subcardioid
Runtime Stereophony
AB30
Stereophony:Runtime
Width:0.3m
Angle:0 deg
Capsules:2 x Omnidirectional
AB60
Stereophony:Runtime
Width:0.6m
Angle:0 deg
Capsules:2 x Omnidirectional
AB90
Stereophony:Runtime
Width:0.9m
Angle:0 deg
Capsules:2 x Omnidirectional
AB120
Stereophony:Runtime
Width:1.2m
Angle:0 deg
Capsules:2 x Omnidirectional
AB200
Stereophony:Runtime
Width:2.0m
Angle:0 deg
Capsules:2 x Omnidirectional
Intensity Stereophony
XY60
Stereophony:Intensity
Width:0.0m
Angle:60 deg
Capsules:2 x Cardioid
XY90
Stereophony:Intensity
Width:0.0m
Angle:90 deg
Capsules:2 x Cardioid
XY120
Stereophony:Intensity
Width:0.0m
Angle:120 deg
Capsules:2 x Cardioid
Blumlein
Stereophony:Intensity
Width:0.0m
Angle:90 deg
Capsules:2 x Figure-Eight
Other
Decca Tree
Width:2.0m
Depth:1.2m
Capsules:3 x Omnidirectional
Some microphone manufacturers provide detailed information covering specific mic setups. DPA Microphones, Inc. is one of those manufacturers that does.
One forum topic Valuable, large site for learning more about mic positions is especially informative about piano microphone placements, if you’re opened to it.
However, if you put just one single mic anywhere at the piano, which standard and pro versions permit, you’re going to get exactly zero mono compatibility problems. Keep in mind even though Monophonic is one of the possible software OUTPUT selections, it is often just the left mic of an otherwise stereo pair.
Philippe Guillaume personally explains Monophonic OUTPUT as follows:
Dec 13 2016 12:42 am:
both Monophonic and Sterephonic modes are just a particular configuration of the mics positioning, that is, you can obtain exactly the same result via the OUTPUT section (available in Standard and Pro versions) and chosing the corresponding mic position,
usually, the Monophonic output is just the left mic taken from the Stereophonic mode pair,
the Monophonic mode is true mono, that is, there is one single mic. That implies that there cannot be phase cancellations isssued from two mics, but still there can be some weak partials (including the fundamental) if the single mic is placed on a node of that partial. You must know that there are numerous nodes all around the piano, so we have to live with,
when Monophonic or Sterephonic modes is selected, there is no Level Compensation nor Delay compensation, hence the volume depends on how far the mics are placed from the given instrument, which depends on the selected instrument,
for example, in the D4, the Stereophonic pair is placed at [1.50 1.25 1.50; 1.65 0.75 1.50] (let us call it a Close Mic position), hence right in front of the lid, ande the volume is about as loud as in the standard presets,
on the contrary, in the Grotrian, the Stereophonic pair is placed at [0.40 -0.60 1.50; 1.10 -0.60 1.50], hence in player position sitting a bit back, hence the reduction in volume,
for many years, the Stereophonic pair was placed in Close Mic position (as in D4). Recently (as in Grotrian), we found it more appropriate to have it in player position, which explains what you have observed.
He clearly makes those points: shown above.
Last edited by Amen Ptah Ra (30-04-2020 17:22)
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