Hi Tatiana,
I'll try to answer some of your questions...
> I am doing a lot of this "hit-and-run" type stuff myself, and have bee
> struggling hard to come up with an efficient, portable mic solution.
> So far
> I have produced audio projects that are delivered in stereo, and tend
> to
> involve intense ambiences from nature - but I am just beginning to try
> to
> have these pieces air on radio (my very own, low-budget radio
> expedition!),
> so I am facing the mono-compatibility problem for the first time. I
> just got
> the new Sennheiser 418s M/S stereo shotgun as a stab at an
> all-in-one-hit-and-run solution for gathering ambient sound and
> interviews
> (unplug "side"), but this is really no help when it comes to mono
> radio,
> because from what I understand, I will lose so much (the "side") if
> collapsed to mono....
>
Yes you do lose the "side", but that isn't a problem as it's better
than not hearing the middle.
The mid still hears the sound, the side "steers" you ear as to what
side it's coming from.
Put your fingers in your ears and listen to someone talking in front of
you,
remove each finger one at a time, then remove both.
Notice how with both ears blocked it's harder to localise a sound,it's
still there though
and with ears unblocked you can point out to the source in the stereo
field.
A crude demonstration.. but with a bit of imagination this is how m/s
stereo works.
"Then there's a another problem- assuming you COULD broadcast in
stereo, how
to record a moving (speaking) subject in a sonically rich natural
setting? I
> hit a brick wall with this while recording in Botswana two years ago.
> I had
> little experience, and was trying to record with a stereo mic on a
> boom-
> this worked beautifully when it was in a parabolic reflector pointed
> at a
> single lion feasting on a zebra, but not okay when I recorded in stereo
> dish-less, walking alongside a guide as he pointed out various natural
> wonders. The stereo field was flailing all over the place..."
so I take it you want to hear the atmos in stereo but the dialogue in
(mid) mono?
I can think of 3 ways this can be done.
1- traditional way of 2 takes, record dialogue first, then atmos in
stereo.
2- binaural way, lapel mic on subject (in centre) and binaural mics on
ears/glasses.
the lapel will give the subject a clearer "presence" but...
cables everywhere.
3- have the subject behind the m/s pair ie: as far as possible!
and radio mic him/her to you. (not the best as you still get
"bleed" that will
wander in the stereo image)
" I still have not figured out how to conquer this problem as a
single person.
A planted mic combined with a boomed mic is all I can think of, but
it's not
> a truly mobile approach...what to do short of wearing a pair of
> binaurals?
> Is it possibly just a question of boom technique? Am I expecing the
> impossible?"
>
I'm a location sound recordist for film/tv and have found that #1 is
the best way to do it.
In fact it's the only way that I've done it for a long time....
#2 does work for radio,
#3 does work but not with the greatest results.
In short, plan your time carefully and don't rush the job,it may take
you longer for the two
takes but honestly it will give you the best results.
During the initial dialogue run through take notes of what has been
pointed out and lay in
those cues at the appropriate place later. Because you are, I assume,
multitrack editing
your show, get different perspectives of the same atmos, ie:close/far
and layer them. Thats
what they do in hollywood to make a lush atmos.
Try this first by recording the rain splashes, then "the clouds", then
a puddle. Mix them and
you have instant depth! This may not be the purist approach but it will
give you a
great result that people will notice.
Good luck,
Grant Finlay
www.ultrasound.orcon.net.nz
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