I enjoyed the ethereal sound you got, and it suited the music.  But it's not a sound I would aim for myself, and so what I would have tried first to deal with a situation like yours would have been quite different.

What made you even think of using figure of eight microphones with a Jecklin disk?  And what type did you use? - they are inevitably side-addressed, and so could be less than convenient if used really close up.

Paul

We released v5.1 a few days ago and since that release I have had to make a few necessary fixes and have hopefully uploaded the last for a while

This is what has changed since v5.1

v5.1.01
* Cubase 6 XMLs now have ridiculously high pointer numbers which cause an overflow error in AAT - now fixed
* Reaper: Issues with "Takes" and Bus Tracks causing AAT to crash now resolved

v5.1.02
* SAWStudio Track names not appearing in Reaper conversions due to extra Null character  - now fixed

v5.1.03
* SAWStudio Track Pan values reporting incorrectly  - now fixed

v5.1.04
* When extracting AIFs from some OMFs AAT may lockup  - now fixed
* Fixed memory leak when splitting stereo wav files

Thanks for your help.  I'll give it a go with the Multi Mix.

John Rich

It's not a complete don't do - I'm aware of at least one other experiment along similar lines, and that's been written up here, (see paragraph 3). It's also worthy of note that they've applied a Blumlein shuffler to what must for them have been a very similar result, which may well be worth experimenting with, although it's not the only thing you could try - Sheppi is the other thing that springs immediately to mind. Not saying whether any of this would make a genuine improvement to the stereo imaging (which doesn't sound what I'd expect from a Jecklin disk, I must say), but it may be worth a try.

It's also very conceptually similar to Tony Faulkner's parallel AB figure-eight microphone pair method, only with a baffle added.

I notice that they have basic noise and THD+Noise specs on the website which would indicate that they use mid level A/D's. Knowing that the JoeCo company was formed by people who previously contributed to the development of the Sadie system I would be fairly confident that it would work as expected.

James.

You got it completely correct, Steve. As to suppress the not very pleasant reverberance of the room sufficiently, I placed a pair of figure 8 into a Jecklin disc very close to the piano. I know, it's a don't do, but it sounded best in this case and outperformed the addiditional mics in different placements and setups. The only problem was the public faced to the backside of the mics. There is some disturbing noise therefore in this rather quiet excerpt, not only from the page turner ...........

Well, whatever you did certainly suits the music. In my experience though, jazz very rarely has what could be described as 'realistic' stereo images, even when there's just a solo piano involved.

From what I could hear on headphones, this sounds like one piano, two players, and recorded fairly close to the body of the piano, but in a reverberant space. Shame about the page turn...

Experimenting means to come close to borders. Recently I did so with a rather uncommon microphone setup in classical piano. I like the result but doubt if I already have come to close to a stereo image common in Jazz. What do the forum readers think about it ?

To add to what SteveG has said, you should uinderstand that once you have achieved a recording where the peaks are at or just below the OdbFS point, the recording is as 'loud' as it is ever going to be - any further increase will merely result in clipping and distortion.  The only way to make it appear louder is to use compression/limiting, etc., to raise the RMS level of the recording.

Audition only records what the sound device gives it - it has no control whatsoever over the recording level. Initially the best approach to this (short of doing what I suggested in the first place!) would be to normalize your file to about -1dB. That guarantees no clipping. The on-screen volume control doesn't guarantee this at all, because you rely on the screen display to adjust it, and when zoomed out you don't necessarily see all the peaks. Anything else you do, like compression or limiting should be done after you've done this.

I'd sell the USB mic on ebay, and put the money towards a mixer with a non-USB mic!