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Videos

Acoustic Guitar Part 5
Matched pair for stereo miking, near-coincident and X/Y.
By Michael Schulze and Lorenz Rychner
Moving on from recording with two mics for a mono blend, as shown in videos 3 and 4, to recording in true stereo with a matched pair of mics. Demonstrates near-coincident and coincident (X/Y) miking, with a pair of Shure KSM 141 condensers, in cardioid. Compares sound resulting from different placements. Discusses time arrival of signals and mono compatibilities.
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Acoustic Guitar Part 5
Matched pair for stereo miking, near-coincident and X/Y.
Michael Schulze and Lorenz Rychner
Moving on from recording with two mics for a mono blend, as shown in videos 3 and 4, to recording in true stereo with a matched pair of mics. Demonstrates near-coincident and coincident (X/Y) miking, with a pair of Shure KSM 141 condensers, in cardioid. Compares sound resulting from different placements. Discusses time arrival of signals and mono compatibilities.
Acoustic Guitar Part 1
One mic, from several angles and distances, looking for the best sound.
Michael Schulze and Lorenz Rychner
Using just one mic, an MXL 2001 large-diaphragm condenser, we're searching for the best sound to be had from an acoustic guitar, exploring capture distances, mic angles and positions.
Acoustic Guitar Part 2
Six different mics, each at the 12th fret, all sounding different.
Michael Schulze and Lorenz Rychner
We explore what other mics sound like when used in the same spot that we liked in our previous video (at the 12th fret, at a distance of about a foot and angled about 45 degrees): Lewitt Authentica LCT 640 (large-diaphragm multi-pattern condenser), BLUE Reaktor (large-diaphragm multi-pattern condenser), Royer 122V (ribbon, tube, figure-8), Audio-Technica AT4051 (small-diaphragm cardioid), Shure KSM141 (small-diaphragm cardioid and omni), Danish Pro Audio DPA 4011 (small-diaphragm cardioid), Shure SM57LC (dynamic cardioid).
Acoustic Guitar Part 3
Two mics, roughly equidistant, for mono blend, 3-to-1 rule.
Michael Schulze and Lorenz Rychner
Looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, to capture both strums and fingerpicking. Explains 3-to-1 rule, and references proximity effect.
Acoustic Guitar Part 4
Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.Two mics, near and far, for mono blend. Phase, time-alignment, DI signal.
Michael Schulze and Lorenz Rychner
Again looking for the best sound with two mics, a pair of MXL 2001 large-diaphragm condensers, not for stereo but for a balanced blend in mono, with a closer and a more distant mic. Explains phase relationship and time-alignment. Introduces DI (Direct-Input) signal (dbx DB12).

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