Search the Community
Showing results for tags 'Double MS'.
Hi, this is my first post in this forum I'm interested in recording some surround ambiences and I was researching the techniques, that I can record with my equipment. Has anyone any experience rigging rsm191 and neumann km140 for a double m/s surround recording. Are there any holes or phase problems?
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?