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May 26th, 2006, 07:45 PM | #46 | |
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Three separate mic's ("shotgun plus M-S pair")? It seems to me you'd still have that hollowness if you are using a shotgun, either if it's an M-S mic or not. |
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May 26th, 2006, 08:18 PM | #47 |
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The M-S would be a standard condenser mic. Not a shotgun.
The reason a shotgun sounds hollow in a small room is because the ambience loses its highs. Only the direct signal has a flat(ish) frequency curve. By using noise reduction, you get rid of a lot of the dull ambient noise from the shotgun. By mixing in some flat ambience from the M-S mic you get back to a more normal sounding environment. * Clean dialog in the center * Flat, controllable ambience at the sides * The ability to mix down to mono without phase problems Does that make sense? Something like this would work... http://www.studioprojectsusa.com/lsd2.html Though, I'll probably go for two cheaper large condensers with switchable patterns and a couple of stands. The large condensers can do double duty for studio voiceovers. You certainly won't get a hollow ambience from large condenser mics. My only real concern relates to phase issues when mixing this in with the processed shotgun. Maybe the best solution - especially if you only have a stereo recorder - is to record "silence" with the m-s pair before/after the shoot and use it as a pad underneath the noise reduced mono shotgun track. -Jon Fairhurst http://PoorlyProjected Pictures.com |
May 26th, 2006, 10:38 PM | #48 |
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[QUOTE=Jon Fairhurst]The reason a shotgun sounds hollow in a small room is because the ambience loses its highs.http://PoorlyProjected Pictures.com[/QUOTE
You sure about that? That's not how I'd describe the hallowness, such as you say "the ambiance loses its highs". I could be wrong but it sounds to me more like a reverb effect such as "inside a tank". |
May 26th, 2006, 11:11 PM | #49 |
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Since shotguns become omni's in the low frequencies, the low frequencies are enhanced, and maybe this is being perceived as a lack in high freq's vs the actual bump in the low mid and low?
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May 27th, 2006, 12:31 AM | #50 | ||
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That software sounds interesting, but I'm not sure exactly what it does, or what advantages it offers. Could I use that software with the Sony ECM-MS957? Can anyone tell me if the specs on this mic are good or not? Any practical experience? Should I make a new posting? I really do want to find out if the Sony is worth buying and whether it can provide the type of M-S recording that can be manipulated to bring out the sounds and degree of stereo separation that I want to emphasize (this is the advantage of M-S as I understand it). Please advise!! Quote:
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May 27th, 2006, 01:04 AM | #51 | |
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Is this true of the cards and hypers as well? |
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May 27th, 2006, 01:57 AM | #52 | |
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May 27th, 2006, 02:05 AM | #53 | |
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It can also do the reverse transformation - extract mid and side information from a left/right recording. Finally, it does the equivalent of sticking two instances of the plugin in a row - encoding L/R stereo as mid/side, adjusting the mid/side balance, then re-encoding it back to L/R. So starting with a conventional L/R stereo recording you can modify the apparent spatial distribution. It will work with any mid/side mike or any L/R stereo mike. You might need to invert the phase of one channel, but that is easy to do. |
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May 27th, 2006, 02:25 AM | #54 | |
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May 27th, 2006, 02:26 AM | #55 | |
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It can take an X/Y recording and convert it to M-S, so that you can work with it as you normally would work with an M-S recording? I'd be curious to hear what some others here have to say about this. I guess we don't need M-S mic's anymore. |
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May 27th, 2006, 02:28 AM | #56 | |
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recommended ... maybe. For some reason I feel a bit skeptical about it but I don't really know. |
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May 27th, 2006, 05:44 AM | #57 | |
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Mid = (L+R)/2 Side = (L-R)/2
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May 27th, 2006, 06:25 AM | #58 | |
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If you've ever encoded an MP3 using the joint stereo mode, you've used a type of M/S encoding. See here: http://harmsy.freeuk.com/mostync/ The concern with, say the Sony mike or the AT 835ST in L/R mode, is that they don't do a straight transform between M-S and L-R: they apply multipliers to give the narrow or wide field effects. (It would be nice to know what these multipliers are...) So you'd have to do some tweaking to reconstruct the exact, original M-S inputs. However, since the MSED plugin is doing two symmetrical transforms, you can still use it to tweak "spatialization" of an incoming L-R signal, even if you don't know how that signal was constructed from the original M-S. You're basically applying differences. Last edited by Gian Pablo Villamil; May 27th, 2006 at 07:41 AM. |
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May 27th, 2006, 09:41 AM | #59 | |
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May 27th, 2006, 10:35 AM | #60 | |
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