menm
man hand
and
do
so we were talking about the placement and how crucial the place where the
microphone
is and in general just how
even if with one microphone there's a crucial placement
um relative time and in mid-range so I figured I'd
try to describe it but
with rock footage here like basically with microphone a
and the speaker see taken might take a cab to take a speaker
and you got the dome got the paper so
specifically the 57 for you
guitar aficionado Prieto merchants the
magical spot is where the paper meet
the dome if you Mike straight arm the dome
you're going to get the brightest possible sound and as
I was showing you with the 57 57 as bright as it is so
I move the fifty seven off-center to wear
it meets the paper in the domain and that's going to be in general
sort of your golden spot so the first thing I do
when I'm my king with Royer and
with the 121 in the 57 is I'll take the Royal can all use
the magical mag light which I talked about
and you take the mag light and you want to
shine into your cabinet
or your combo anyone to find the dome
and then once you find the dome I like where
the 121 is placed
right in front of the dome and
are basically find that by shining the
light mauve thing about the mag light seriously without giving around
it gives a very you can tighten
right down and get the mag light right
next to the microphone
and he you can shine that in with these basketweave cabinet it's kinda
it gets a motive to turn the lights down but you can't get to see the speaker so
pretend that we're trying to get in and we're looking im
we see the dome and what we do is
replace the Roy R facing
right on the dome which is the brightest spot and then we take
57 who and replace it
right next to the reuter now
here comes an whole nother crucial part of this conversation
so we're looking at the Royal here for soft and
the flange on the Royal for on the 121
is where the ribbon is so the ribbon
is basically and I mean you know give or take
a very fine I
measurement Michael just assume that the ribbon is in
that senator spot because that plant is withholding ribbon
so if you're looking down on
that you go okay well that's where my that's the point to contact that I want
the 57 to be in phase with
now here comes a whole nother
part of this conversation a fifty seven's capsule
is not at the front above the microphone so if you were going to
place this 57 if you can see what I'm doing here like that
frankly the ribbon which is what you're considering the capsule
0 this microphone is not in phase with the 57
you have to actually come down into
approximately here I took this piece a plastic of
with the mount a phone that in that
top with this 50 in a 57 the actual capsule love this microphone
is almost an inch receded
and that inches quite a bit when it comes to mark my king
but the speaker so
if you're following me because we're looking down and if you type
getting tight on that you're not in phase
you actually out your about an inch away from
being in peso I basically will take the 57 have to
get approximately where this plastic is to meet with the flange
so if if that's making sense
I mean it will change your ability to blend the two microphones radically
just that bench with early because faces a time relationship
and you want the capsules to be as closely related as possible
so basically once you get your royal
positioned on your speaker
on the dome you want to position your 57
right next to it so it matches into the
paper here where the dome with the paper
but you want it to be like I was explaining here
receded in that insurance and a half or so
on this for by 12 I've got actually the
57 and Royer 121 on one
so to speak on the right side on left side I've got the
Royer 101 and the 57
so to basically start you wanna
tighten your bag like your special Royer
mag light and you wanna shine in
and find the dome which is as I explained with the
raw speaker is where I want a place initially the reuter
so from this right here I can see and I can see that the dome
is right where I've got the 101 placed
and again the one on one does not have
flanges as the 121 does
but what it does have is you can
basically assume that the ribbon is in the center
love the microphone so
this is kernel function of how close
bet you want your your a microphone to the speaker cabinet
and honestly I really like the mag light because
what at times I can do I can throw to do a measurement
and say okay mom you know this is about
as deep as I kinda wanna so I've got that now
and then as I explained the 57
want to be receded in to sort of world my caps on the 57 and
then I can see that the 57 is focused right where the paper
meets the dome and
for me that's excellent placement
I know that's going to be in phase and I know that my ribbon mic is gonna see the
brightest possible spock
and if I go in and the first strike a chord I feel it's too bright
I might move or if I feel that the 57 is albright ruled out lil darker a Movado
will farther outside from a little brighter on Moodle
more and then the same with my 121 which
I would then come around to the other side and I'm
as I explained I find the perfect spot by shining the mag light
which the thing about a mad why does that actually zooms
you can get it to zoom right in and you can really
see by Pike Place that Mac might actually
I'm kinda you know next to and I can see right
where it shining in because I basically assume
like an inch over is where I'm going to be placing it so the mag light this is
rooms right where I can see that and I don't think that's where place it
and really allows me to I'm fine tune my placement
so without again being overly redundant
arm thats what I suggest you guys do when you wanna
you know use the to my king
technique over 57 Anna Royer wetherbee a 101
121 122 or $1.22 the
arm all the same technique
and will you know give you
the ability to have in phase bland love to microphones
do it