Polarity reversing the middle one isn't going to help you with phasing in that situation. The phasing that causes a problem in PCCs that are in overlapping pickup areas is over a much wider range than just being 180-degrees out of phase and is not linear across the entire bandwidth of the microphone. All polarity reversing does is produce an end result that is effectively the same as putting the input exactly 180-degrees out of phase across the entire bandwidth. It may help things minorly, it may do nothing, or it may make things worse. And then an actor can take two steps, and all the relationships involved will change.
Have you checked out what Crown has to say about using their microphones properly.fhs-tech said:
What is your application? I have successfully used these mics for a couple of years. Generally speaking, I space them about 8 to 10 feet apart, with the offstage mics pointing directly away from any speakers. (the speakers need to be in the null of the mic or you just pick up your program material. I typically also use the pads on my mixer channels as these are rather hot mics. Sometimes I flip the phase on every other one for spacing closer than about 5 feet but that only helps some of the time in my expeirience. Use foam pads under the mics. Make sure you have appropriate phantom power also. They seem to operate best with at least 24 volts. Older boards my not supply enough power.
I have also used ours on a Grand Piano also. You're right Pacman, it is much less obtrusive. I do mine a bit differently though. I tape mine to the wall of the piano inside the curve, right by the holes in the soundboard. I found I picked up less ambient noise that way. I usually pick one of the the holes that are near the middle of high strings and one of the holes that are near the middle of the low strings, but I have also had some luck with the "low" mic all the way at the end. I use two mics for stereo imaging and usually find myself rolling off a bit of the mids at the eq. This also has the advantage of not requing one to risk dropping the mic on the piano strings in the middle of the show. (this can be hard on the mic, the strings, and the soundguy's career.)These are also great mics to use on grand pianos. Just use gaff tape to tape it to the underside of a grand piano lid. Make sure you use good gaff tape, casue it's not a happy thing if the mic falls off on the strings during the performance. It may take some experimentation, but finding the right spot for placement on the lid will be pretty apparent.
This is a good solution when you need a low profile on the piano so as to not block a chorus, etc.
The connectors are terrible for a mic that you could probably run over with a car, and the cables are not cheap. I built some bases for ours, a square piece of heavy duty dark foam and then glued a black piece of metal tubing at the right spot for the cable. Run the cable through the tube, and then tape the mic to the base (and base to the floor at the same time) and they're almost actor proof.