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Mid-Side Stereo Micing Techneques w/o a Bi-directional Microphone

Discussion in 'Microphones' started by bohenlebroxmusic, Feb 11, 2012.

  1. bohenlebroxmusic

    bohenlebroxmusic Active Member

    I'm new here, so forgive me for being a bit green ;)

    Question:
    Is there ways to Mid-Side Stereo micing without a Bi-directional or Figure of 8 microphone
    Alternate techniques, to accomplish full/warm sound.

    Tracking:
    Acoustic Guitar

    Example:
    Recording Acoustic Guitar - Mid-Side Stereo Micing - YouTube
     
  2. Laurend

    Laurend Active Member

    There is no way for MS micing without a figure of 8 mic.
    But matrixing a regular stereo micing to MS is a possible option for processing in this format.
     
  3. BobRogers

    BobRogers Well-Known Member

    Well it's not technically mid/side, but you can do a lot of things using multiple cardioids using ambisonic theory. Four mics in a tetrahedron can produce a full three dimensional picture. Three or four mics in a plane can do basically the same things as the various fomulations of MS and Blumlein.
     
  4. bohenlebroxmusic

    bohenlebroxmusic Active Member

    Thank guys! Four mic's in a tetrahedron, pointing inward or out!? And, it's probably a good idea to use a 2 sets of sisters!?
     
  5. BobRogers

    BobRogers Well-Known Member

    Soundfield microphone - Wikipedia, the free encyclopedia
     
  6. RemyRAD

    RemyRAD Guest

    Well I have to argue with everyone here. It is absolutely possible to utilize MS miking technique with just 3 cardioid microphones. OMG! I mean think this through. What is a figure of 8 microphone of a capacitor type/condenser type? It is a pair of capsules that are back to back. Each one is on, combined together and out of phase to each other. So you take a couple of 57's and (I might add omnis would also work fine here) you place the capsules as closely as possible together, back-to-back. Now here are your options with that. In a pinch, microphones can be loaded down together before they ever get plugged into the microphone preamp input. For that, I have specially constructed XLR Y patch cords where of the 2 females, one is wired out of phase, to the other i.e. pins 2 & 3, reversed. The secondary alternative would be to feed both of those 57's into separate inputs on a mixer/console. You would assign both microphones not to the stereo mix but to the same auxiliary outputs. With one of those microphones phase inverted. You would then take the output from your auxiliary send and loop that back into yet another Y patch cord in order to feed 2 inputs simultaneously on a mixer/console. Each one of those would be panned left & right and one of them would be phase inverted (generally right channel but that depends upon the internal architecture of the console). The other 57 aims forward as the middle. Eh voilĂ ! I mean come on here, hasn't anybody ever done this other than myself before? As a musician, you learn to improvise. As recording engineers you only learn what to plug-in. As a broadcast engineer, you learn to improvise and know what to plug-in and how, to get the job done, professionally.

    Sure you can spend gobs of money on those really cool outerspace looking Alien space invader microphones. Or, you can spend $300 on some microphones you can use on anything, anywhere, anytime, in any weather and not worry about it getting stolen or broken. Particularly because it wasn't as expensive as your firstborn male (or female) child. Those microphones though are great when you need instant drive-through stereo microphone gizmo Tron where only the best will do if you don't have Neve preamps.

    A little knowledge can be so beautifully and artistically dangerous
    Mx. Remy Ann David
     

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