While gobo isolation panels can be effective in isolating performers
from each other, they introduce their own set of problems - including
reflections close to the performers and/or microphones that result in
comb-filter distortions. Because gobos usually are bulky and occupy
valuable floor space, they also inhibit the ability of the musicians to
hear and see each other easily. Such a setup requires complex and
often cumbersome headphone monitor mixes for the musicians.
Since the R84 is bidirectional, it exhibits nulls at right angles to the
principal axis. These nulls produce a “plane of rejection” around the
sides, top and bottom of the mic that can be used effectively to
reduce leakage. Simply arrange the musicians so that nearby
instruments are placed in the “null” of their neighbor’s microphone,
and vice versa. Although this does not entirely eliminate the need for
gobos, it can significantly reduce their number.
Keep in mind that a certain degree of bleed is not necessarily bad.
For some styles and genres, it can, in fact, be beneficial to embrace a
little bit of bleed in order to create cohesive and natural sounding
recordings. The important thing to listen for is whether or not other
instruments that bleed into a specific instrument microphone still
sound natural. You will generally find that well-designed ribbon
microphones like the R84 capture a natural off-axis sound, which
means that bleed from other instruments can contribute to the
overall sound in a pleasing way.
PROXIMITY EFFECT
Proximity effect, a
characteristic of all
directional
microphones, is a rise
in low-frequency
response at closer
working distances.
This can be used to
superb effect,
particularly with
deeper vocals to
to enhance richness and depth. A potential trade-off is reduced
articulation resulting from the masking effect on the treble due to
“excessive” bass boost.
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