Wild Sanctuary wrote:
> G'day Walt,
>
> When Lang provided data on his SASS set-up, we tried it and he's
> right: The results are spectacular as far as stereo imaging and a
> sense of aural space. All of his recordings clearly demonstrate the
> clarity and transparency that's claimed. I was under the impression
> that he was using some combination of Sennheisers (MKH20s) which are
> typically low noise and quite transparent.
He's using a pair of MKH20's mounted much like I did with the MKH110's.
The MKH20's are longer, so he had to stagger the position of the two
mics so they would cross. I was able to mount the MKH110's on the same
level, they just fit. Lang's page on details of his and his parts list
is here:
http://www.naturesound.com/sass/sass.html
I used the earlier MKH110 omni's as the MKH20's were just too pricey and
hard to come by used. The initial impression I have of the MKH110
version is that it's got that same stereo imaging I heard in Lang's
setup, very wide open stereo field. The MKH110's have a higher noise
rating and a little less sensitivity than MKH20's.
Since starting the project I have obtained two MKH40's. As I bought
extra on the housing expecting to mess one up I think I'm going to set
up a housing to take the MKH40's. It would also take MKH20's if I manage
to come up with a pair of them. Construction will be simpler as I don't
have to set up a power supply in the housing. I intend to do some
experimenting with the SASS to see what optimization can be done, if
any, on it.
I really haven't
> specifically tested the SASS setup for the phantom center channel
> problem...notable in most stereo configurations. The 3dB drop
> typically occurs when the patterns of the omnis or cardioids overlap
> in the middle. While that drop is significant for our efforts since
> we need more options, it might not be for others. Lang contributed a
> passage in Wild Soundscapes titled "Binaural Recording Issues" and
> which appears in the Appendix of the book that is worth reading for
> those interested in the SASS system.
I was just curious if it had been tested. I don't hear a drop in the
center so far.
Your book is already well worn from reading here.
> Also, as Lang and Gordon Hempton have both pointed out, when
> monitoring stereo, SASS, and/or binaural, you get what you hear.
> While with the M-S system you do not and it is not immediately
> intuitive what you are hearing (unless you are monitoring off a
> pre-amp headphone output that provides stereo capabilities.)
I bought a Sound Design MP2 as much for this issue as for use as a
preamp for more gain. There is considerable difference in the headphones
with and without the M/S decoder on. I've got to gain experience with
M/S, but I think it's going to be a important part of my arsenal. So I'm
going over any info I can get. I'm assuming for future processing that
it's best to set the gain for each mic for optimum recording and adjust
later? Rather than trying to record to optimize for a future stereo
field by using the headphone monitoring, but still recording the signals
without decoding?
If I set the mics to similar level indications without decoding and
then turn the decoder on for the headphones, usually the side is
dominating too much. At least using the MKH60 as a middle. I do get a
nice stereo out of that combo, but not near as expansive as the SASS.
Not a problem as that's intended to place individual frogs in the field,
something that's probably not going to work well with the SASS.
It's interesting that both the MKH30's I got off ebay came from
overseas. One from Russia, and the latest from Switzerland. I don't see
US ones on ebay. Makes me wonder if M/S is more popular over there.
Walt
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