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M/S mic for documentaries

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Don't see whats wrong with stereo wireless boom. I done it to keep things light.  742 with stereo cone. I use a small packsafe waist pack with a mixpreD to decode the ms signal and wireless receiver just to monitor I use a second wireless to go to camera. Works really well and keeps things extremely light.  Recording on the 742 send each mic to separate tracks and let lost deal with it. Neve a complaint.  MKH 30/8040 with pianissimo

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On 6.04.2017 at 7:43 PM, Tom Visser said:

I think a lot of people have the perception that you loose access to the "raw MS" tracks when encoded to LR, even if done at the mic.  It is more than just reducing the panning for increased center correlation.  Some useful post tricks would be to EQ the mid or side channels independently from each other, MS EQ tools are quite common.  Another thing you can do is to use MS EQ on XY tracks too.  The results are exactly as predictable when used with real MS sources, but can still be useful.  There's probably some loss associated with burned in LR delivery when it comes to advanced processing so I'd always prefer MS ISO's, but for simple width control, MS or LR is really equivalent in my mind.

The loss is usually the s/n ratio, as most M/S  single-tube microphones have better s/n ratio at the center capsule  than the side one.  

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Would any of these mics - Neumann 190/191 or Pearl MSH10 or Audio Technica 4029 - work mounted on the camera? I have an AT4025 stereo mic and it is way too sensitive to be used on camera. What kind of mount might be best for them, if put onto a camera? My setup is similar to this but with a Mixpre-6 underneath too.

 

FOCUS-daylight-visibility.jpg

 

Thanks!

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The 4029 was made to be on camera, standard onboard size mic.  The others would not be good because of their size. The 191 needs a separate decoder box too I believe. 

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Lots of my friends on MKH418, I had few doc jobs required stereo for atmosphere, so I had chance to their 418. I would say it's great piece of gear. Of course if you hate 416,  don't come nearer to MKH418. I think the mid part is like 416 sounding ;)

 

However, nowadays I am carrying a different setup for recording stereo atmosphere, which are Zoom H6 + Rode Stereo VideoMic X http://www.rode.com/microphones/stereovideomicx  ( they said there are two NTG3 heads without the shotgun pickup pattern and also with all the low cut and sensitivity parameter on the mic itself.) I could set the recording somewhere and pick them up later or asking someone to watch it while I am shooting something with the camera crew. Love the set up. But you have carry a bit more gear on site. 

 

Hero

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18 hours ago, hiro nakamura said:

However, nowadays I am carrying a different setup for recording stereo atmosphere, which are Zoom H6 + Rode Stereo VideoMic X http://www.rode.com/microphones/stereovideomicx  ( they said there are two NTG3 heads without the shotgun pickup pattern and also with all the low cut and sensitivity parameter on the mic itself.) I could set the recording somewhere and pick them up later or asking someone to watch it while I am shooting something with the camera crew. Love the set up. But you have carry a bit more gear on site. 

 

Hero

 

+1

For a onboard camera mic the stereovideomicX is really a nice choice. Love the feel of it. And even if it's not a hypercardio the stereo field makes the sound intelligible. The only downsides : it's a bit heavy and prone to noise due to humidity (like Schoeps).

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looks like a nice mic.

is there a performance difference with the stereovideomicX if hooked up through the TA3 with phantom or the 3.5mm jack and a 9V battery?

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4 hours ago, Patrick Tresch said:

 

+1

For a onboard camera mic the stereovideomicX is really a nice choice. Love the feel of it. And even if it's not a hypercardio the stereo field makes the sound intelligible. The only downsides : it's a bit heavy and prone to noise due to humidity (like Schoeps).

What's it like with speech if you collapse it to mono? Strange question maybe - but if it happened to be the only source (mounted on a camera), at some point it the chain it may well end up summed. 

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That's not a strange question at all--it would be my FIRST question on a doc I was recording.   On most of my jobs I am recording the master audio (mix and isos) on my rig, but I want a mic on the camera for those moments when the shooter pulls the camera off the sticks and goes rogue.   What we're going to want out of those moments is dialog first and foremost--we can fix everything else well enough.  So I really want to know how that signal will mono.  I have to say that I'm not thrilled with the idea of a camera mic being MS unless that is  an important part of the concept of that project, from the pre-pro stage onward.

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StereovideomicX is not MS but X Y. So both mic will have about the same directivity. You could use one? On a MS shoot on the camera we often used only the M to get an better directivity. Or S if the character is out of frame next to the camera. 

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