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Which Figure-8 Mic For Mid-Side?
Old 30th October 2020 | Show parent
  #121
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Quote:
Originally Posted by RayHeath View Post
I often wonder why people are or are not fans of M/S? I'm thinking that is resolves to different applications and goals. But that is only a fuzzy impression in my mind.

I mostly use M/S as a mono-ish mic with configurable ambience [1] for a specific instrument where maximizing locality [in comparison to say, a close AB pair] is a goal. . .not so much as the primary technique for capturing a small ensemble.

However, although I've personally moved more toward M/S, I still very much like even unnaturally wide images. It just depends on the tune, arrangement, environment, etc.

I've admitted elsewhere that I'm afraid of widths - still working my way through these issues.

BTW, I wound up ordering the matched pair of Schoeps MK8 capsules to go with my kit. Thanks for your thoughts.


Regards,

Ray H.

[1] Not certain ambience is always the right word for what I'm trying to achieve, here. . .especially in relatively close mic-ed scenarios as I might apply to my Yamaha GC82S classical guitar?
hi ray

i guess you know already that i'm a huge fan of m/s (and even more of double m/s)...

regarding 'ambience': an m/s system in a close position can get you variable ambience and variable width and of course variable level in a way no other system (except an ambisonic mic) comes close as these parameters are not baked into the signals but can get adjusted while mixing.

it's also helpful for l/C/r mixing (whith a capital C), meaning one can use the center channel as a solid foundation of the mix and then add the side channels depending on taste, the arrangement, the mix width of the entire ensemble without sacrificing mono compatibility.

i'm often processing the center channel much differently from the sides: the center gets eq, dynamics and some early reflections (to compensate for the 'unnatural' distance of the mic to the source), the sides get eq, some modulation and a medium room but rarely any dynamic processing.

double m/s adds the option to decode to surround and/or to use the 'rears' as additional (and different) efx sends; if mixed to stereo, the 'rear' channels do not get routed to the stereo mix bus (just the efx returns).

greez from THE corona hot spot,

dd
Old 30th October 2020 | Show parent
  #122
Lives for gear
 
lukedamrosch's Avatar
 
🎧 5 years
Quote:
Originally Posted by RayHeath View Post
I often wonder why people are or are not fans of M/S?
I'm personally in the camp of "I like a certain amount of time-difference as a component of stereophony, and have therefore rarely been satisfied with purely coincident techniques for main pickup"

That said, I recently experimented with M-S for spot mics on a duet recording, using Gefell M930/Schoeps MK8 pairs, instead of pairs of (closely) spaced but parallel spots as I would normally have done.

I was happy with the result.
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