John Eppstein wrote:
Weedy, I'm not going for "The most bass". Although the mic is at the edge it's angled, so that the bassy part of the cone is off-axis and the dome is on axis. If there's too much low end you can always roll it off, but you can't bring back what ain't there.
Huh, that's interesting. That's the opposite of how I do it (of course obviously my opinion is only one report of experimentation).
What I'm shooting for is this: I know I'm going to be able to get enough edge, the speakers I work with are always really bright. Weber Blue (very low wattage), antique GE 12" (current). So I always point away from the center towards the edge. If I need darker, I slide the mic position closer to the edge. It gets the maximum 'papery speakery added texture' sound while suppressing the laser-like beams from the center.
That also means the mic angling is controlling the 'brightness versus texture of the vibrating cone balance': point it more straight in, and there's less emphasis on paper cone artifacts, point it away from the center and those textures become more apparent (direct radiation becomes off axis, but close up to the cone edge is close and on axis)
You're picking up the bassy edge of the speaker using the off-axis which helps it be dark, and aiming the on-axis bright part at the center of the cone where it's brighter? I imagine you must be able to get wild variations that way. Mine is more 'move the mic as much as two inches to get a big variation in tone', it tries to be somewhat insensitive to positioning so it'll be predictable.