Generally speaking you record the M and S channel independently and mix to =
taste in post.=C2=A0 The advantage of MS is that you can control how wide t=
he stereo image is.=C2=A0 And what you feel is right today, might not be ho=
w you feel tomorrow.=C2=A0 It should in theory mix to mono quite well to.=
=C2=A0 Don't need that you say?=C2=A0 Well, if you get far enough from your=
speakers, or they get close enough together they mix to mono anyway.=C2=A0=
Or if your recording gets broadcast over AM radio for some reason.
If you need to monitor you can use the matrix in a device to hear how it's =
going to sound, but if you record that matrix and not each mic independentl=
y you loose any post control as you'll just be recording stereo.=C2=A0 You =
could probably use a mono jack on your headphones too to get a mix in a cru=
nch.=C2=A0 It wont be stereo or MS, but you'll get a mix for both ears.=C2=
=A0 I'd recommend against recording the de-matrixed signal on location as y=
ou can't tell diddly out there in the field.=C2=A0 Except whether the gear =
is working in the first place, or something in influencing your gear.=C2=A0=
Like cell phones or radio towers.=C2=A0 Or good old wind.
Don't believe anything anyone has told you.=C2=A0 Use your gear in each of =
the configurations and determine for yourself which is best.=C2=A0 Maybe lo=
ok at the specs, do some math to help weight the equation, but trust your e=
ars most.=C2=A0 That's the only piece of gear that's not going to lie to yo=
u (much).=C2=A0 And maybe look at the pretty pictures of the spectrogram an=
d stuff to get a feel for the stuff you might not be hearing on your gear, =
but is there for all intents.
As far as the gear we actually have details on.=C2=A0
The 416 is a super cardioid.=C2=A0 Which is probably not the best option fo=
r MS.=C2=A0 AFAIK, you want something more cardioid-ish.=C2=A0 i.e. less di=
rectional.=C2=A0 But for nature it should work out pretty good if you want =
to focus on a distant subject and mix a slight amount of local ambiance.=C2=
=A0 Just don't mess up the aim since you have a smaller margin for error wi=
th a more directional mic.
http://www.sennheiserusa.com/professional_wired-microphones_camera-mics_001=
511
Emesser ATE 208
http://www.ambient.de/produkte/mikrofone/emesser/emesser_e.html
The emesser seems suited for your usage as the side in an MS array.=C2=A0 B=
UT...=C2=A0 200Hz-16kHz might be a bit weak for nature stuff.=C2=A0 At leas=
t bird calls.=C2=A0 Even the low end cut off might loose some grunts and gr=
owls of the mammal variety.=C2=A0 It looks like it was meant to be used in =
conjunction with a boom pole.=C2=A0 So unless you're flying it on a boom po=
le over a nest or den, you might not get that great of results.=C2=A0 But y=
ou're probably not going to be mixing it as heavily as you would otherwise =
since your other mic is very directional.=C2=A0
Not that that combination wont work, but it doesn't look like my first choi=
ce for anything outdoors.=C2=A0 Other than a boom pole over some actors.=C2=
=A0 Human or otherwise.=C2=A0 You might be better served by a Shure VP88 or=
something similar and more local to your location IMO.=C2=A0 But we'd real=
ly need to know which Fostex first.=C2=A0 FR2LE?=C2=A0 FR2? ???=C2=A0 Which=
SQN mixer?=C2=A0 Although most of those look kind of nice noise spec wise.=
=C2=A0 Not that you'll notice much of a difference when the mic(s) have a r=
elatively high noise floor.=C2=A0 Otherwise nice gear across the board, I j=
ust don't know if they're well suited for that type of relationship and usa=
ge.
- James
--- On Mon, 8/16/10, myles.thompson <> wrote:
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