![]() Starting off with just the Mid mono channel, if the Side channel is gradually added in, the stereo image gradually widens-at equal level, you get normal stereo. But an M-S recording can be collapsed to mono simply by killing the Side channel, and what’s left is a pure mono signal-from a single mic-with no unpleasant phase issues.Īn M-S recording also offers control over the width of the stereo image. When a regular left-right stereo recording was collapsed to mono, phase cancellations between the channels-which might contribute in a positive way to stereo depth and image-could result in undesirable tonal colorations in mono. When recordings were transitioning from mono to stereo, mono compatibility was important. M-S recording offered provided a technical advantage back in the analog era. To hear the recording in normal stereo, the Mid and Side channels are run through a matrix, which converts the Mid and Side channels to normal Left and Right channels. So the Side mic rejects sound from the source, but sound from the sides-like ambience, which is diffuse and different at the left and right, and to some degree instruments/performers on the extreme sides of the stage-will not put equal pressure on the front and rear of the mic diaphragm, and will be picked up-the Side signal. This mic will pick up sound from both sides of the room, most prominently ambience-this, of course, is the Side mic.Ī sound wave hitting both front and back of the Side mic at more-or-less equal strength-like a signal at the center of the stage-will put equal but opposite pressure on the diaphragm, cancelling that signal out. ![]() In M-S recording this mic points 90° off-axis (at a 90° angle to the mono mic), pointed to the sides of the source with its null point facing the source. ![]() The other mic is a bidirectional-Figure 8-mic, which picks up signals to the front and rear, and rejects sound at the sides. This would most typically be a cardioid mic, and will pick up everything, in pure mono. The main mic-the Mono mic-is pointed at the center of the source. Mid-Side miking utilizes two mics with different polar patterns, as a coincident pair with a unique placement. A regular stereo recording is made with two mics in a standard stereo configuration like spaced omnis or XY, where one mic is positioned/pointed to pick up the left side and the other to pick up the right side, and both mics would normally have the same polar pattern (omni/bidirectional/cardioid). A Mid-Side recording utilizes two microphones in a specific configuration. ![]() Mid-Side Mikingīesides being a processing tool, Mid-Side is also a stereo microphone technique. M-S signals can be created by recording them that way, or by processing a regular left-right stereo recording after the fact to derive the Mid and Side channels from it. For a typical stereo mix, the Side would include instruments/voices/sounds panned primarily to one side or the other, and diffuse stereo components like reverb the Side would not include center-panned elements of the mix-typically kick, snare, lead vocal, etc. In the M-S version of a stereo signal-like a stereo mix-the Mid channel would include everything, with center-panned elements dominating, while the Side signal would contain only audio that’s different in the left and right channels. ![]()
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