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DannyDay · 13th December 2004

I use M/S on drum rooms, sometimes OH. I like the inaging and it's _very_ forgiving when it comes to drummers with harsh sounding cymbals.

Sometimes I like M/S in "studio" jazz and classical piano situations. For classical piano, it works for accompanying a soloist or piano with ensembles as it "wraps" around the soloists. For jazz I use it when the piano is the main thing. Isolation is key as the side can pick up a lot of bleed.

Lately, I use M/S about 30% of the time on my bread and butter, live classical recordings. It seems to work best on larger ensembles, although I've been surprised on occasion.

Love the imaging, it's forgiving, mono compatible, etc. The only downside is the image width and ambiance cannot be separated nearly as easily as other stereo techniques.

My rambling two cents.... back to football. Ciao,

DD.

13th December 2004	#14
DannyDay Gear nut Joined: Mar 2003 Location: Austin, TX, USA Posts: 80	I use M/S on drum rooms, sometimes OH. I like the inaging and it's _very_ forgiving when it comes to drummers with harsh sounding cymbals. Sometimes I like M/S in "studio" jazz and classical piano situations. For classical piano, it works for accompanying a soloist or piano with ensembles as it "wraps" around the soloists. For jazz I use it when the piano is the main thing. Isolation is key as the side can pick up a lot of bleed. Lately, I use M/S about 30% of the time on my bread and butter, live classical recordings. It seems to work best on larger ensembles, although I've been surprised on occasion. Love the imaging, it's forgiving, mono compatible, etc. The only downside is the image width and ambiance cannot be separated nearly as easily as other stereo techniques. My rambling two cents.... back to football. Ciao, DD. __________________ mmmmm gear! -Homer