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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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