Getting caught up on replies here, and a followup question at the end.
Yes, every time the organ got loud and soloed. I suspect the effect was masked a bit during ensemble play.
Recording chain was DPA omni mic(s) -> Grace pre -> MDR24/96 w/DAT safety. Limiter on DAT, but I think the effect shows up on both machines. Need to check this... Had to use the safety for one cut.
Didn't hear it directly during setup and rehersals. I do recall thinking - "another round room - why do they bother building these things?" That is, I could certainly "hear" the shape of the room, and don't care for it.
The mics were placed out a ways from the organ to capture the choir, which was the main attraction. Since it was a one-time live event, I don't have the luxury of re-recording it. Pity, as the organist was very good. But I will likely be back to work that venue or one very much like it within the next year. So I'd like to figure it out.
So it appears that pipe organs spin, or maybe their rooms do.
Wonder if this where the idea for the leslie speaker came from?
Now the followup questions:
If the effect is phase cancellation then would it be noticed in a soloed single channel? I'll have to try it.
Would ORTF work better in this situation, having better rejection to the rear of the pair? OR spaced figure-8s (lateral rejection)?
Getting closer to the organ would put the mics closer to the perimeter of the "circle". I would think the sound would be flying around much more so there than toward the center of the room. Ah, but the direct to reflected ratio would be much higher, so... yeah, that should help.
Thanks for all the input.
Wayne