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Stereo Microphone Techniques
Stereo Microphone Techniques: - Coincident (means 'same time') stereo technics - Use 2 identical microphones : Practically touching each other (1/2 inch apart) : No time of arrival differences —> therefore => No Phase problems : Will only have intensity (loudness) differences : Stereo signal is 100% mono-stereo compatible may have the 3 coincident patterns in a single stereo Mic
Coincident patterns are: 1) XY 2) Blumlein 3) M-S
1. XY - Uses 2 identical cardioid Mics placed at 90° to 135° angle to each other - Gets a “moderate stereo spread” with a “strong center image” - Used for ==> drum overheads, small horn, back ground vocal sections, grand piano (close mic) - Stereo imaging ==> excellent - Only cue ==> Amplitude (No phase distortion) - Mics outputs are equally panned left & right
2. Blumlein - Uses 2 identical bi-directional mics 90° angle to each other - Basically same as XY technic except use of ribbon microphones - Excellent for ambience recording - See the Top picture
3. M-S (Mid-Side) - 1 cardioid mic facing source = Mid - 1 bi-directional mic facing sideway = Side - 1 de-coding matrix (matrix: switching pattern system) - Those outputs are combined through a sum-and-difference decoder matrix ==> resolves outputs into a conventional X/Y stereo signal (M + S = X) and (M - S = Y) - The Mid capsule pickups the direct sound - The side capsules pickup ambient and reverberant sound
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