m-s stereo mic technique

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What are your feeling about applying EQ to the side channels? I've been cutting the low frequencies of the side channels on drum recordings with the result being a more focused bass drum sound. I've not really tried this on anything else yet.

In a somewhat related question, how much does the fact that most ribbons have different frequency responses on their front and back lobes play into the stereo image?

-Al
In retrospect, I should have stepped off the stage and utter-kicked Mrs. O'Leary's cow.

-BRW

m-s stereo mic technique

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bfields wrote:What are your feeling about applying EQ to the side channels? I've been cutting the low frequencies of the side channels on drum recordings with the result being a more focused bass drum sound. I've not really tried this on anything else yet.


-Al

I just updated the MS decoder equipment page with some info on this type of thing. Check it out.
Greg Norman FG

m-s stereo mic technique

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greg wrote:
bfields wrote:What are your feeling about applying EQ to the side channels? I've been cutting the low frequencies of the side channels on drum recordings with the result being a more focused bass drum sound. I've not really tried this on anything else yet.


-Al

I just updated the MS decoder equipment page with some info on this type of thing. Check it out.


Yep, that pretty much answers that and more. Thanks!
In retrospect, I should have stepped off the stage and utter-kicked Mrs. O'Leary's cow.

-BRW

m-s stereo mic technique

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I tried this for the first time on acoustic guitar this week -

Mid - Nady Ribbon
Side - M-Audio Solaris in Fig.8

Questions:
1. Did it not work because the Mid mic is figure 8? should I switch them and try?

2. It sortof sounded like it was in stereo, but when when I listened in mono, it sounded the exact same - that's not how it's supposed to work, is it? I know its supposed to be mono-compatible, but THAT mono compatible?

3. the mics were about 1' away, is that too close?

4. In the Blumlein method, do the mics need to be matched? also, should the source be between the pickup patterns like in X-Y stereo? or facing perpendicular to the side mic like in M-S?

5. Also, when I multed the side mic and flipped the phase, it didnt cancel completely - what was I doing wrong?
HotATLdiy|HAWKS[/img]|[url=http://www.myspace.com/blamegame]Blame Game

m-s stereo mic technique

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wiggins wrote:1. Did it not work because the Mid mic is figure 8? should I switch them and try?


Well, it's not M/S if you have them both in figure 8. Try the variable pattern mic in cardiod as the M mic.

2. It sortof sounded like it was in stereo, but when when I listened in mono, it sounded the exact same - that's not how it's supposed to work, is it? I know its supposed to be mono-compatible, but THAT mono compatible?


If most of the signal was direct sound from a physically small source placed right in front of the mid mic you won't get much directional difference. It's a coincident stereo technique, so you're relying on differences in the direction of incidence of the sound wave as there is minimal phase difference.

3. the mics were about 1' away, is that too close?


Well, if you move them back, you'll get more of the room which I think would have more L/R difference. Then again, depending on the horizontal size of the source, you'll actually start to make the source look 'smaller' to the mics...an acoustic guitar for example.

4. In the Blumlein method, do the mics need to be matched? also, should the source be between the pickup patterns like in X-Y stereo? or facing perpendicular to the side mic like in M-S?


I don't think they need to be. They should be positioned like X/Y.

5. Also, when I multed the side mic and flipped the phase, it didnt cancel completely - what was I doing wrong?


Did you have them panned hard L/R? They won't cancel unless they are in mono.
The Chrome Robes-Busted Canoe

m-s stereo mic technique

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ebeam wrote:
5. Also, when I multed the side mic and flipped the phase, it didnt cancel completely - what was I doing wrong?


Did you have them panned hard L/R? They won't cancel unless they are in mono.



I had them panned hard L/R, and flipped the "mono" switch on my desk. There was some cancelling, but it didnt cancel completely.

I will try again on drums tomorrow.

Thanks
HotATLdiy|HAWKS[/img]|[url=http://www.myspace.com/blamegame]Blame Game

m-s stereo mic technique

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Hey wiggins,
This may or may not help you out.

http://www.sweetwater.com/expert-center ... --Blumlein

along with (by coincidence):

http://m-pulse.m-audio.com/articles/mar ... cguide.php

Although it is "strongly recommended" you use a matched pair, I wouldn't say it is a necessity. I have done what I think are decent Blumlein recordings without a matched pair. It would probably make things easier, but the overall factor would be the amount of space you are working in and the amount of reflection(s) entering the mics and possibly causing phase and later mono compatibility issues.
I could be entirely wrong.

-Darrill
"...slowly panning across something kind of crappy."

m-s stereo mic technique

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ebeam wrote:
wiggins wrote:1. Did it not work because the Mid mic is figure 8? should I switch them and try?


Well, it's not M/S if you have them both in figure 8. Try the variable pattern mic in cardiod as the M mic.



While it might not be true M/S without the mid mic providing a cardiod pattern you can sure get cool results using a figure-8, or omni as the mid depending on the source(s) and the room.

-Darrill
"...slowly panning across something kind of crappy."

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