off axis response

Here's a tid bit of info from: http://downloads.bbc.co.uk/rd/pubs/archive/pdffiles/monographs/bbc_monograph_04.pdf for anyone interested in the character of off axis response:
 
"...the directional properties - at least in the plane perpendicular to the length of the ribbon - varied only slightly with frequency, so that the reverberant as well as the directly recieved sound was more faithfully reproduced."
 
 
I think that statement is a great example of an idea that many people can probably hear if they listen attentively yet, perhaps, never formulate the idea into a specific thought. 
 
I made a mention of an idea about off axis response a week or two ago and it was deemed irrelevant. Today I stumbled across the same idea while reading this monologue about some research done back in 1952 by the BBC. I thought it was interesting that some ideas can persist and I thought some might enjoy reading the monologue.
 
So, with regard to "technique", how important is the consideration of the character of the off axis response of a specific microphone selection? Is it worth thinking about the character of the off axis response, or is the character of the presumed focal point of the microphone the thing one should focus on?
 
 
 
 
 
I also find it interesting that back in 1952 when engineers were given the opportunity to choose between two prototype versions of the mic design being discussed in the monologue that they choose the less sensitive version. It seems like this would undermine the fashionable notion that these designs require supplementary gain stages to be used effectively.
 
best regards,
mike
 
 
 

I put a track up in "Gear".
Ribbons in a Blumlein configuration, which basically puts both mics "off axis".
There is also a track with the same mics pointed directly at the guitar.
Maybe "off axis" will make a little more sense...
"I made a mention of an idea about off axis response a week or two ago and it was deemed irrelevant"
Not "irrelevant" imho.
 
Tom

I was reading stuff published by RCA yesterday as well. It seems like some companies spend a lot of time when designing their mics and that they endeavor to understand the implication of as many factors as they can.
 
The BBC monograph gave me an appreciation for how the Coles 4038 design was carefully shaped to enhance hi frequency response while maintaining a natural off axis coloration. Having read about the RCA 44 design as well, it seemed to me that both organizations were appreciative of the same compromise of balancing a need to focusing the magnetic flux while endeavoring to shape the magnet structure to minimize blocking of the off axis, high frequency, short wave length energy.
 
It made me wonder how many mics designs are the result of such thoughtful research, prototyping, and an appreciation for an applicability of use with music recording.
 
best regards,
mike

I just got off the phone with Paul at AEA and he explained that a few of the assembly screws on the AEA R84 come from offshore. He also explained that 7 or so years ago AEA switched from using Mogami brand 3 conductor cable to a USA supplier.
 
:-)
 
 

I know AEA, Josephson, Manley, and Telefunken USA's high end line use USA manufacturing.  There aren't that many prominent USA mic makers to begin with. 

Yeah, they're all bold as love
Just ask the axis
 

You can see what Daniel is speaking about by going here:
 
http://www.neumann.com/zoom.php?zoomimg=./assets/diagrams/km100_diagrams.htm
 
and clicking on the KM 130 capsule choice along the bottom margin.
 
The sensitivity will be displayed for 1kHz. If you select the other frequencies you can see that this omni mic is omni below 1kHz, but trends towards directional pickup above 1kHz until at 16kHz it acts like a supercardiod.
 
best regards,
mike