John Marks Teaches ORTF | Stereophile.com
This seems best to me.
Good for blumlen stereo, cars, ambiophonics, even quasi-binaural for headphones.
Seems to be the best compromise for all types of listening situations.
Why spot mic for live recordings?
Even studio recordings can be done this way. Just record different tracks from the separate locations where the band members stand in the recording room.
What do you guys think?
This seems best to me.
Good for blumlen stereo, cars, ambiophonics, even quasi-binaural for headphones.
Seems to be the best compromise for all types of listening situations.
Why spot mic for live recordings?
Even studio recordings can be done this way. Just record different tracks from the separate locations where the band members stand in the recording room.
What do you guys think?
This is pretty close to what I advocated for playback on the loudspeaker dispersion thread.. 
Here:
http://www.diyaudio.com/forums/mult...-oustanding-stereo-imaging-5.html#post2693063
Here:
http://www.diyaudio.com/forums/mult...-oustanding-stereo-imaging-5.html#post2693063
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I agree, PROVIDED you have a suitable venue to record in . . . and with the "exception" that "centered" soloists are not captured well by the ORTF pair, and should probably generally have a separate mic. But overall it's the best way to capture the orchestra.
I also like a variant, though . . . using a pair of ribbons spaced like the cardioid capsules in "classic" ORTF, but with the angle at 90 degrees so the center sums properly. In addition to the better off-axis performance of ribbons you pick up less side wall reflection and more "deep hall" reverb . . .
I also like a variant, though . . . using a pair of ribbons spaced like the cardioid capsules in "classic" ORTF, but with the angle at 90 degrees so the center sums properly. In addition to the better off-axis performance of ribbons you pick up less side wall reflection and more "deep hall" reverb . . .
Not all good. Mixing to mono can cause comb filtering, contrary to what he says. Other factors involved but not mentioned. Ther is no " best" technique for everything. XY and blunliem can sound better depending on the situation. And using any stereo pair for a band is not easy. How do you increase the level of just the kick drum for example.
With an orchestra that's exactly what the conductor is there for . . . (well, one of the things . . .).-Tell the drummer to play harder.
I agree with this wholeheartedly. There is no best technique, but it may be the technique this guy is comfortable with using. No one technique works for every piece of music(Inner voicing of a Bruckner or Mahler piece would be completely lost with ORTF technique). The microphone placement must take into consideration the venue, the piece being recorded, and the size of the orchestra.
For recording orchestra's, I use a Decca tree and variations of the spaced omni setup. For recording my church's services and for recording film scores, I use a "forest" of microphones. For small ensembles, I have used spaced omni only. No one size fits all.
I guess I am a bit of a perfectionist control freak. I trust my ears, microphone placement, and mixer more than I trust the ability of a band or orchestra to balance itself. You never know what can happen recording a live performance.
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Well, this is a binaural recording. The best for headphones
His Binaural+ recordings are not exclusive for headphones only, according to Chesky:
Chesky said:
He has been working together with Professor Edgar Choueiri, although his recordings don't use the BACCH filters.
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