Recording - November 2011 - 43
know that whenever you place an omni and a figure-8 right on top of each other and mix the signals, you get the equivalent of a single cardioid mic. So when you do M/S with an omni for the mid you end up with the equivalent of a pair of cardioids facing 90 degrees left and right... but unlike just setting up a pair of cardioids this way, the M/S technique lets you dial in your stereo width at the mix. And even further down: when you do M/S recording with two figure-8 mics (one pointing forward/backward, one pointing to the sides), the resulting stereo signal is equivalent to a pair of figure-8 mics pointing 45 degrees left and right, respectively. Some engineers like setting up a pair of figure-8 mics pointing 45 degrees left and right in the first place and recording in stereo that way; we call that a Blumlein configuration—remember that guy? But again, doing a virtual Blumlein with M/S is way cool because you get to do the matrixing after the fact, so you have more control. You can have a lot of fun with this technique, due to its flexibility. It’s great for single instruments, small groups of instruments, or anytime you want to add some natural stereo ambience to a singer, and to an amp, percussion, a trombone, whatever! I once recorded some awesome screaming guitar solos in a big room with an M/S pair set 3 feet in front of an amp on a chair. During the mix I could pull up as little or as much of the sound of that awesome room as I wanted. The results were amazing and I always feel that a great-sounding room sounds more, well, real than even the best plug-in. Mid-Side recording is a fantastic tracking tool that yields great benefits in the mix; it’s a technique you’ll want to play with and get good at so you can use it where appropriate to supercharge your stereo soundstaging. And if you understand all this and want to learn about something that some folks consider even cooler, go out on the Internet and search on the term ambisonic, which is M/S with an extra mic for creating mind-blowing surround. Sorry, I didn’t invent that either. Michael Schulze (schulze@recording mag.com) is the Director of the Audio Production Program at the University of Denver’s Lamont School of Music, where he just completed production of a series of instructional videos for Recording, produced by Recording’s Editor, Lorenz Rychner. Look for links on our web site at www.recordingmag.com.
RECORDING NOVEMBER 2011
43
http://www.ftc.edu
http://www.ftc.edu
http://www.fretlight.com
http://www.fretlight.com
http://www.recordingmag.com
Recording - November 2011
Table of Contents for the Digital Edition of Recording - November 2011
Recording - November 2011
Fade In
Contents
Talkback
Fast Forward
PreSonus StudioLive 16.0.2
Mixing And The Stereo Field
TASCAM US-2000 USB 2.0 Audio Interface
The Mixing Workshop: Better Mixes Through Creative Editing—Part 1
Roll Music RMS216 Folcrom
Sonnox Fraunhofer Pro-Codec
How To Be Successful In Today’s Music Business—Part 1
Plug-In Outlet
Mid-Side Stereo Recording
iOS Music Tools: For Composers
For Your Bookshelf
Organize Your Mix Session
Reviewed And Revisited: iZotope RX 2
Shure SRH940 Headphones
Readers’ Tapes
Advertiser Index
Fade Out
Recording - November 2011 - Recording - November 2011
Recording - November 2011 - Cover2
Recording - November 2011 - 1
Recording - November 2011 - Fade In
Recording - November 2011 - 3
Recording - November 2011 - Contents
Recording - November 2011 - 5
Recording - November 2011 - Talkback
Recording - November 2011 - 7
Recording - November 2011 - Fast Forward
Recording - November 2011 - 9
Recording - November 2011 - 10
Recording - November 2011 - 11
Recording - November 2011 - PreSonus StudioLive 16.0.2
Recording - November 2011 - 13
Recording - November 2011 - 14
Recording - November 2011 - 15
Recording - November 2011 - Mixing And The Stereo Field
Recording - November 2011 - 17
Recording - November 2011 - 18
Recording - November 2011 - 19
Recording - November 2011 - TASCAM US-2000 USB 2.0 Audio Interface
Recording - November 2011 - 21
Recording - November 2011 - The Mixing Workshop: Better Mixes Through Creative Editing—Part 1
Recording - November 2011 - 23
Recording - November 2011 - 24
Recording - November 2011 - 25
Recording - November 2011 - Roll Music RMS216 Folcrom
Recording - November 2011 - 27
Recording - November 2011 - Sonnox Fraunhofer Pro-Codec
Recording - November 2011 - 29
Recording - November 2011 - How To Be Successful In Today’s Music Business—Part 1
Recording - November 2011 - 31
Recording - November 2011 - 32
Recording - November 2011 - 33
Recording - November 2011 - 34
Recording - November 2011 - 35
Recording - November 2011 - 36
Recording - November 2011 - 37
Recording - November 2011 - Plug-In Outlet
Recording - November 2011 - 39
Recording - November 2011 - Mid-Side Stereo Recording
Recording - November 2011 - 41
Recording - November 2011 - 42
Recording - November 2011 - 43
Recording - November 2011 - iOS Music Tools: For Composers
Recording - November 2011 - 45
Recording - November 2011 - 46
Recording - November 2011 - 47
Recording - November 2011 - 48
Recording - November 2011 - 49
Recording - November 2011 - For Your Bookshelf
Recording - November 2011 - 51
Recording - November 2011 - 52
Recording - November 2011 - 53
Recording - November 2011 - 54
Recording - November 2011 - 55
Recording - November 2011 - Organize Your Mix Session
Recording - November 2011 - 57
Recording - November 2011 - Reviewed And Revisited: iZotope RX 2
Recording - November 2011 - 59
Recording - November 2011 - 60
Recording - November 2011 - 61
Recording - November 2011 - Shure SRH940 Headphones
Recording - November 2011 - 63
Recording - November 2011 - Readers’ Tapes
Recording - November 2011 - Advertiser Index
Recording - November 2011 - 66
Recording - November 2011 - 67
Recording - November 2011 - 68
Recording - November 2011 - 69
Recording - November 2011 - 70
Recording - November 2011 - 71
Recording - November 2011 - Fade Out
Recording - November 2011 - Cover3
Recording - November 2011 - Cover4
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