Discussion in 'Microphones (live or studio)' started by goran, Apr 10, 2006.

  1. goran

    goran Guest

    I have been testing a new stereo recording method since my last post.
    (amateur needs pro answer about M/S and spot mic)

    X/Y is fine but just a little bit to little "space or air" in my room. On the other hand Blumlein ( 8/8 ) gives to much air in my recording room ( I have moved out of the corner from my last post).

    So I tried this


    3 mics. Two of them in Blumlein ( 8/8 ) and and the third (card) in between
    and straight forward.

    (Then mixing in some M in the blumlein stereo to reduce some air,
    and of course a very good center-image (very important))

    All 3 mics ( Rode-NT2-A/ADK-Hamburg/Rode-NT2-A) are vertical aligned.

    There should not be much phase problems (5cm between Rode-NT2-A and ADK-Hamburg).

    Any other problems ?
    Am I the first to try this ? :D

    /Goran Sweden
  2. saemskin

    saemskin Active Member

    Nov 6, 2005
    do it and let us know how it sounds.

  3. Kewl

    Kewl Guest

    If you're going to plug 3 mics in an extended MS experiment, the M should be omnidirectional. This way, you will have total and independant control over angle and pattern.

    To recap:
    One omni pointing 0 degree
    One fig-8 pointing 0 degree
    One fig-8 pointing 90 degre to the left.

    The ratio between the two fig-8s will control angle and the ratio between the resultant L-R fig-8s and the omni will control pattern.
  4. Simmosonic

    Simmosonic Active Member

    Jan 13, 2005
    To avoid repeating ourselves here, you ought to check out the posts in the thread 'double MS recording', particularly one of mine that was posted Fri Apr 07, 2006 2:20 am. It explains how to use three mics (two bidirectionals, one omni) to create any coincident stereo pair you wish, including Blumlein, with full control over the M capsule (from omni to bidirectional and everything in between) along with width control. It will allow you to dial in just the right polar response for the M signal, and then add just the right amount of room sound from the S signal.

    This is all the information you need to do what you want to do well! Just ignore the stuff about the rear-facing pair and you're done.

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