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PostPosted: Fri Oct 31, 2008 6:26 am 
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Mr. Electonica Dude
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An older article but still applies. Quite detailed in the pros abd cons of the various techniques.

http://psbg.emusician.com/ar/emusic_double_pleasure/index.htm

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PostPosted: Fri Oct 31, 2008 5:37 pm 
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Marker Magician
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Enjoyed the read Geno, always good to review. Best advice included was do not hesitate to experiment.

In the Mid - Side discussion several hardware possibilities were mentioned for decoding the signal. It did not mention that in the event you do not have a hardware decoder, the side signal can be copied to a third channel, pan the two side signals and reverse the phase of one of the side channels. You can not monitor the true mid side result as the recording proceeds, but during the mixing it is available. Proper sound checks, level setting, and some test record/mix takes makes the inability to monitor the M-S matrix more of an inconvenience than a roadblock.

My question - Is what i have just said true - or am I missing something? I am supposing this possibility to copy the third channel was overlooked because digital recording and editing was not a prevalent at the time of writing?

Do you have a M-S decoder, or do you use the split signal option?

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PostPosted: Sat Nov 01, 2008 5:16 am 
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Sorry Byron , I almost missed this post somehow.

About the only thing I M/S nowdays are plucked instruments (except piano) and a Hammond Leslie.

I use the Y-cord method , except I run each of the Y outputs to seperate stereo preamps that have variable mic impedance adjustments (like an MPA Gold or Focusrite Twin Tracks Pro) to overcome the problems associated with the split impedance issues with a y-cord. I find this works well and I have no real noticeable problems monitoring provided I remember to reverse the phase on one fig. 8 lobe.

I'm not a real M/S guru but when it works , it works well. Placement , seems to have more effect than anything to my ears.

msg

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PostPosted: Sat Nov 01, 2008 2:23 pm 
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Marker Magician
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Yes placement is important I am discovering too. Like the idea of the split signal going to separate pres. I never thought of this, though it is so obvious.

The M/S tracks I find very useful when recording in a hall (choirs - ensemble) Adds great realism. Not much is needed. Too much will make the mix hollow. I usually find myself pulling the M/S faders down from my initial settings, in relation to more direct mics, as the mix develops, but you sure do notice when it is gone. Another example of Less is More.

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