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Stereophony: Senn_MS vs DPA4006_AB
Old 2 weeks ago
  #31
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Thread Starter
Quote:
Originally Posted by Rolo 46 View Post
This forum takes a lot of persuading that classic Sennheiser MKH and mid/side, sum and difference , is a sensible solution to many problems
Roger
A paucity of simultaneous comparison clips maybe the reason. It takes more than just a statement, a controlled demo is essential.
Old 2 weeks ago
  #32
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I think it's a bias which feels 'intuitive' or 'natural' to some people - that spaced omnis are faithful reproductions of space and MS is somehow 'trickery' because of its need for decoding. It is also notable in those who don't use the technique themselves regularly, and distrust it. For myself, a well matched pair (i.e. both Sennhesiers, or Schoeps etc) give a deep sense of space and depth and accurate positioning of instruments in the field, probably because of the coincident capsules. It's an understandable, if misguided, perception imho.I note the amount of people who preferred the first example and the subsequent change of opinion when the techniques are revealed. Not a criiticism, just an observation. Perhaps Roger has a point.
Old 2 weeks ago
  #33
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Originally Posted by itsyourself View Post
I note the amount of people who preferred the first example and the subsequent change of opinion when the techniques are revealed.
Not sure anyone advised strongly on preference or changed their mind, just initially concluded the ID incorrectly.

Quote:
Not a criticism, just an observation. Perhaps Roger has a point.
Well there's certainly no shortage of advocates for Senn MS, a well represented mic manuf and technique on this forum. These are certainly all good tools to have in the kit, but SennMS is not necessarily the best choice all the time as this comparison shows I think.

Last edited by David Spearritt; 2 weeks ago at 10:09 PM..
Old 2 weeks ago
  #34
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Quote:
Originally Posted by lukedamrosch View Post
Out of curiosity, would you mind sharing the approximate height and distance for the two pairs?
The two pairs were on the same bar. Sorry I don't have accurate measurements but approximately 4m out and 3.5m up from the violins in the front.
Old 2 weeks ago
  #35
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Quote:
Originally Posted by David Spearritt View Post
The two pairs were on the same bar. Sorry I don't have accurate measurements but approximately 4m out and 3.5m up from the violins in the front.
Thanks David!
Old 2 weeks ago
  #36
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I like to nail my colours to my mast
I know my MKH, sum and difference will always work, and choose the mid that is most appropriate for the gig
The BBC are two pairs on the same bar, omnis and ORTF, not quite enough options for me , but an easy ish rig for them and a control room or post choice
I monitor on closed cans, in the venue, so the image is certainly not monitor speaker, however when I sample on my open back HD800 later I am always surprised
It takes a while to build this confidence, as does microphone placement and relations with musicians and hall staff
My main motto is always keep it simple and get in and out as soon as poss
Roger
Old 2 weeks ago
  #37
Lives for gear
Quote:
Originally Posted by Rolo 46 View Post
I like to nail my colours to my mast
I know my MKH, sum and difference will always work, and choose the mid that is most appropriate for the gig
The BBC are two pairs on the same bar, omnis and ORTF, not quite enough options for me , but an easy ish rig for them and a control room or post choice
I monitor on closed cans, in the venue, so the image is certainly not monitor speaker, however when I sample on my open back HD800 later I am always surprised
It takes a while to build this confidence, as does microphone placement and relations with musicians and hall staff
My main motto is always keep it simple and get in and out as soon as poss
Roger
Roger, I'm wondering if you can clarify whether your rear-canted boom arm placement, as shown in this posting: https://www.gearslutz.com/board/10373374-post30.html would be a typical MKH placement of yours, in the recording samples you've posted here ?

I'd venture to say that most non M-S folk wouldn't be using such a pronounced 'behind the conductor' placement as you do (and get excellent results with)...and it's possibly this which accounts for the discrepancy in recorded results between M-S and other spaced or near coincident methods ?
Old 2 weeks ago
  #38
Gear Maniac
Quote:
Originally Posted by Rolo 46 View Post
I like to nail my colours to my mast
I know my MKH, sum and difference will always work, and choose the mid that is most appropriate for the gig
The BBC are two pairs on the same bar, omnis and ORTF, not quite enough options for me , but an easy ish rig for them and a control room or post choice
I monitor on closed cans, in the venue, so the image is certainly not monitor speaker, however when I sample on my open back HD800 later I am always surprised
It takes a while to build this confidence, as does microphone placement and relations with musicians and hall staff
My main motto is always keep it simple and get in and out as soon as poss
Roger
What factors do you consider in picking a pattern for the mid mic?
I just got a pair of MKH30's and already have 8040/8050's. I plan to try some MS
when I'm not using my Soundfield mics.
Thanks,
Bill
Old 2 weeks ago
  #39
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I do try to achieve over and slightly behind the conductor, but for very large forces come back to accommodate the field
Fig 8s have plenty of suck and fine nulls ,the are my main choices, but its nice to choose from MKH 20.40,50 and 80s
Yesterday I was recording a Mahler dramatisation with music, the amorous life of Alma
The central boom had to be panned to the RH stage in order to balance dialog and music presentation, it worked with fig 8s but certainly not with omnis or ORTF, there would be insufficient suck.
Roger
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