Dear all,
I’ve recorded some tracks in double MS
and wandered if anyone has ever
attempted to use the rear and fig-of-8 channels
to increase (in post) the lateral and rear rejection
of the front mic. The end result would be
a super-directional mono (virtual) mic.
This would be useful to adjust in post tracks
recorded in uncontrolled environments,
e.g. documentary setting, direct cinema style,
no time to change mics or lav people.
Is the idea making sense at all? If it is, any
suggestion to make it work?
My set up was a CMIT (front), CCM41 (rear),
and CCM8 (Fig-of- inside a Cinela PIA-3,
recorded on a Nomad with the three inputs
with identical fader and trim settings, no
compressor/limiter involved.
The typical track: a quiet river surrounded by open
fields, a man bathing 3m in front, an engine 100m
in the back, kids babbling on the sides from
various distances. The three channels are quite
contrasted but the front mic still got too much
engine and kids. The goal is to get a mono track
with the kids, and more importantly the engine,
attenuated.
I played around with Schoeps' DMS plugin. http://www.schoeps.de/en/products/dms_plugin/overview
The displayed polar patterns suggests that I could
achieve complete rejection of rear and attenuation
of side with some settings and using only the center
channel (from DMS decoded as 5.1). But the actual
result is unimpressive and there is some distorsion
if I push it too far.
So, what’s your take on this?