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PostPosted: Thu Jan 24, 2008 2:06 am 
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Anybody ever used one of these or know anyone who did? Kind of pricey at $300, but I was thinking of getting one.

http://www.seelectronics.com/rf.html

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PostPosted: Thu Jan 24, 2008 2:33 am 
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Paging Mr. Luther. Mr. Geno Luther to the front desk please.


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PostPosted: Thu Jan 24, 2008 2:54 am 
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I've got two of 'em. The hot setup is with a figure of eight mic and the depth in which the mic is placed. This allows an adjustment of direct signal vs. room. I primarily use them for piano but have used them on a vocalist and guitar cabs. Kinda pricy but once you use one a bit you'll certainly justify the price.

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PostPosted: Thu Jan 24, 2008 4:25 am 
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I might know that if anyone had one it would be MSG! :) Based on your thumbs up, I'm going to get one.

Will a mic stand with a "tripod" foot scheme (not a round base) hold one w/o tipping over?

Thanks,

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PostPosted: Thu Jan 24, 2008 4:59 am 
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HogTime wrote:
Will a mic stand with a "tripod" foot scheme (not a round base) hold one w/o tipping over?

Thanks,



I use a heavy weighted studio grade boom stands for mine. Dumbell weights slipped over the upright of a conventional stand also works fairly well. It's pretty heavy so don't hang it way out there.

msg

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PostPosted: Thu Jan 24, 2008 5:55 am 
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I put together one of these...cheap, but for my purposes, it seems to do the trick...could be modified very easily to attach to a mic stand I think.

Image

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PostPosted: Thu Jan 24, 2008 7:07 am 
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Another cool product along this line is Auralex Expanders


ImageImage

Image I have 2 sets of these and they can be used in conjunction with the reflexion as well.

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PostPosted: Thu Jan 24, 2008 4:07 pm 
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bokchoy wrote:
I put together one of these...cheap, but for my purposes, it seems to do the trick...could be modified very easily to attach to a mic stand I think.

Image

That's awesome

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PostPosted: Thu Jan 24, 2008 7:12 pm 
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Thanks for the additional ideas. I have the Auralex Expander kit, but unfortunately it's currently in storage 250 miles away. Might be able to retrieve it in a couple of months. Gonna still get the Reflexion. It will be interesting to see if my old worn out ears can tell the difference when using it. :)

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PostPosted: Thu Jan 24, 2008 8:24 pm 
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So Geno, do you mount you Studio Projects LSD2 (for Mid-Side)in this enclosure?. If so, how radical is the variation in the side information as the mic placemaents travels from the opening of the enclosure towards the back?

byron

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Last edited by Byron on Thu Jan 24, 2008 10:56 pm, edited 1 time in total.

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PostPosted: Thu Jan 24, 2008 8:41 pm 
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Quote:
That's awesome


Thanks....not my idea though, just one DIY project from the web...but it certainly is cheap, and in certain situations can really change the sound of a crappy room, like mine.

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PostPosted: Fri Jan 25, 2008 4:01 am 
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Byron wrote:
So Geno, do you mount you Studio Projects LSD2 (for Mid-Side)in this enclosure?. If so, how radical is the variation in the side information as the mic placemaents travels from the opening of the enclosure towards the back?

byron


No Byron , I use the LSD-2 for Blumlein as that is where the mic really shines IMO. I have tried the reflexion with the Blumlein pattern but not spaced inwards very deep. The setup caught my Baldwin/Hamelton grand quite well.
I don't think mid side will work very well as it would block part of the figure of eight lobes. You might try the fig. of eight pattern (on the side mic) 12 inches out from the edge of the reflexion's hemisphere line and place the second omni , cardoid mic or whatever you use for the second (mid) mic normally in the reflexion. Then again if it is placed too deep then the side lobes of the cardiod mic would suffer and so would the image. I think if (I hav'nt tried it yet) , if I was dead set on mid-side , I would just set the bottom to figure of eight , point those lobes 90 degrees to the subject , set the upper cardoid and forget the reflexion. If I set the upper to omni then I might consider blocking some of the rear via the reflexion but again not too deep.

Image
Mid side pattern

Where the reflexion really shines (and what it was designed for I believe) is a cardiod/super cardiod mic. It not only will isolate the room but serves as a great gobo for vocalists and guitar cabs. I have two of them and when I don't want to exactly capture my piano (i.e. I want a darker Yamaha type piano sound) then I use two reflexions with two ribbon mics. This setup also works very well.

If you haven't try Blumlein yet , give it a try. The LSD-2 does it very easy and very well. Just remember , with Blumlein mic placement is critical . Just keep moving it till it sounds right. Refer to the diagrams below and visualize the sound source at the top.


ImageImage

Standard Fig. 8 Pattern ........................Blumlein crossed fig. 8 Patterns

MSG

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PostPosted: Fri Jan 25, 2008 4:31 am 
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Here's the setup I used for the last song I did. Kinda a modified ORTF method. Using the Blue (red) bass mic aimed at the mid bass lid and the Blue (blue) mic aimed at the high mid of the lid. This works pretty well to capture the darkeness my piano is capable of. Notice how the red mic is placed deeper in the reflexion than the blue one. Hard to see but there is also a 6 panel 5 foot clear plexiglass gobo surrounding the back the mics as well.


Image


msg

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PostPosted: Fri Jan 25, 2008 7:35 am 
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Thanks for the pics. I've been using the stereo mic for both Blumlien and Mid Side. Had some quite good results with choirs in large (church) spaces. Sure is a different beast than spaced cardiod pairs. I"ll often stick a mic under the piano too, in case it needs a little boost. I have a pair of AKG 535 s that are great,reliable intruments for such a job, among many others applications in the studio. Recently did a children's choir with the LSD-2 in a mid side toward the back of a rather short, quite lively chancel. this group is currently quite young and therfore not as strong as other childrens groups Ive done, so I beefed them up by using the St. Proj T3 as a centre mic about 10 feet out. I was quite pleased with the foundation this provided. It was delayed about 20 ms and mixed with the mid side signals. Careful attention to level in the mix avoided the closer mic bringing too much individual voice in to the recording, as thiis is a huge issue with choral recording. Might not work as well with stonger, adult choral groups however. In days gone by I've recorded these choirs many times. I used to go direct to stero with two Pressure Zone Mics (PZM). Simple is good in many ways. I mounted them on plexiglass and put them up a pole (anchored in a workmate bench!) on a gizmo I'd fashioned so I could control mic angles. Made many good recordiings this way, several finding their way on to discs that have had good (local) distribution. It all seems rather primitive now. The frequency response was rather pitiful in comparison to the LD mics I've been using of late. I've enjoyed making and learning from the recordings I've done over the years, and do appreciate the time people give on this forum to dialogue and answer questions. I was lucky to find this place. Makes me wonder what the hundreds of owners who are slugging it out on their own do when they get frustrated while on the learning curve.

The screens that are the subject of this thread seem a good idea. What makes them so costly?

Regards
byron

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PostPosted: Fri Jan 25, 2008 8:17 am 
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Byron wrote:
The screens that are the subject of this thread seem a good idea. What makes them so costly?



Excellant question. I too was taken by the expense of my first one. Mine was the first one Guitar Center had and was quite hard to come by at the time. As I usually get 10 to 20% off there , I was a little miffed that they would not (even to this day) cut one cent off the price. It does however have more than meets the eye. Five layers if memory serves of soundproofing material. The clamps , chrome are all first class construction and I doubt I could make something that looks and functions as well. They now make a smaller version primarily designed for SM-57's. They go for $150 each which in my opinion is highway robbery. They are also not as well built as their larger sibling. The clamps are a little spindly and I hate gooseneck anythings as they soon wear out and corrode. My line of thinking was to take that $300 for a pair of smaller ones and just have another big one. They also make a Studio Pack of 5 little ones in a flight case but I have'nt seen the price posted anywhere.

Sounds like the LSD-2 is working well for you. I sure like mine as it is my all around go to first mic nowdays. I guess my ribbons are a close second.

I too tried the PZM route thinking it would be the wonder mic. Seems I only use them for ambiance (room) mics blended into more complicated mixes.

I have a Blue Baby Bottle , Kiwi , and Bluebird that I use in the reflexion a lot for instruments like acoustic guitars , mandolins and autoharps.

BTW if you go to their website , they have an invative acoustic mic solution that shows some inovative thinking as well.

I'm pretty spoiled on large diaphram condenser mics as well. I would still like to try out some Oktava MK-012s with the LD capsules.

msg

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PostPosted: Thu Jan 31, 2008 6:55 pm 
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I got my Reflexion and set it up. Did a "spoken word" test with and w/o it. My old ears (with headphones) could detect a slightly drier sound with it. Of course, some other recording rooms could produce a bigger difference. I guess using it on several tracks might make a noticeable difference in the mix. Can't hurt though.

It really looks impressive in the studio. I think I'll raise my rates 10% because of it. :)

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PostPosted: Mon Feb 11, 2008 3:33 pm 
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Image

great idea.
i think borrow that idea and make a matched box for my head.

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PostPosted: Mon Feb 11, 2008 5:13 pm 
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I will put that stuff in my mouth and the mic as well. And cover it all with duct tape.

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