Michael’s experience of live recording led him to the view that using a coincident pair of figure-of-eight microphones gave a more faithful sound for classical and many other types of music than the multi-microphone technique used by most professionals. He vigorously promoted this view in an article entitled ‘Why Coincident Microphones?’ published in the March 1971 issue of Studio Sound (Vol 13, pages 117, 119, 140). It was a rebuttal of a previous article advocating multi-microphone techniques, whose author claimed that the recorded sound should be better than reality, because it is heard in the home, not in a concert hall. Michael gave a long list of those aspects of multi-microphone recording that he did not consider ‘better’, concluding ‘I do not believe that it is “better” to disguise the inevitable imperfections of a human performance and not to be able to hear what the musical intentions of the players were.’
In his article, Michael turned to the question of microphone placement. With gentle irony, he stated that
NoB - as usual an humble, little note... (the bold in above text is mine...)
I recently found and bought a pristine pair of original STC 4038A ribbon microphones (see a previous, recent post on TGE's Blog)... will soon try on my ears if they'll sonically surpass my classic, well-known stereo Neumann USM-69 in Blumlein, double figure-8 crossed configuration...
England vs. Germany? Who'll win?
I owe a BIG "Thank you!" to the late Michael Gerzon http://en.wikipedia.org/wiki/Michael_Gerzon and to Stephen Thornton for his superb site.