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
 
 
 

Ain't the BBC just the greatest source of information? In the 50s and 60s those guys were doing DIY low-budget acoustic treatments using whatever materials happened to be at hand in whatever remote location they had to broadcast the World Service from.
 
I guess there's something to be said for state-run radio.

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

Off axis response irrelevant? Who said that? Them's fightin' words.  Not understanding off axis coloration and rejection is one of the reasons amateur recordings sound like, well, amateur recordings.  Straying too far from proven patterns developed by the original acoustic scientists and experimenting without the proper knowledge of audio physics is the hallmark of a novice recording engineer.  
 
Alan Blumlein should be everyone's personal hero IMO.

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

They go to all that trouble and then have their products manufactured in Shanghai, with a prime directive to minimize manufacturing costs regardless of the acoustical, mechanical or electronic compromises. 
 
Tom, where were your AEAs made? Not in Pasadena, I'm guessing.

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.
 
:-)
 
 

So they are made in California after all - doubling the number of US microphone manufacturers I know about. 

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. 

i record off axis all the time.
 
i use it as a means to EQ certain tracks.
 
it's quite a valuable tool in the kit.
 
 
as a side note, i really like my Shure KSM44 in omni, but sideways to it