B1 + B3 for Mid/Side Stereo

[kapman001]

I do a fair amount of classical stereo recording and was wondering if anyone has used a B1 and B3 in a Mid/Side configuration (B1 facing forward and the B3 set to figure 8 sideways). I already have a B1, but am considering buying a B3 fir the above setup. Thanks for any input!

[ARude]

Though my experience with the B series is limited [but positive] I would say that a coincident M/S pairing of those two mics would be a great low-cost option for casual recordings and possibly serious ones once the capsule match was established. It should be noted that capsule match is less critical for M/S then it is for XY or Blumlein applications.

Personally, I am seriously interested in an LSD-2 for those purposes. I do a lot of live capture and that looks like the ultimate solution for the range of recording that I do. Bach to Rock.

I have had some experience with AKG 426’s and C24’s of various vintages and a few Neuman SM 69’s but the price, new or used, is somewhat daunting. [Used!? HO, HO, HO… Less common than pristine U-47’s and verified UFO sightings. Even at that, it would be hard to put that much of my meager equipment budget into one item.] I also have a pair of AKG 414EB-P48’s [1980’s sequential serial #’s that have flown in Detroit’s Orchestra Hall] but they don’t go out on the rock gigs.

Anybody interested in a thread on intensity stereo microphone technique & applications? Most engineers are aware of the matrix necessary for “decoding” M/S pair. [(M+S) + (M-S) = LR (XY)] but how many are aware of the matrix equations necessary for Stereosonic Technique (Blumlein)? [hint: it requires 4 channels instead of 3 for M/S]

I’ve seen writings describing Blumlein as having an “out of phase” component which would only be present if used without decoding. I was first acquainted with this technique during the quad era [70’s] where it was recommended as a method for recording 4 channels on a stereo tape recorder. [I know, ancient history, so last century…] With the advent of surround sound this technique should make a BIG comeback…

Can’t think of a better place than here where the most cost effective XY, M/S, Blumlein, dual capsule coincident large diaphragm microphone originates.

BTW: How ‘bout a version of the SP828 [maybe 2 channel?] that would allow decoded headphone monitoring of M/S and Blumlein microphone output? It would be a perfect add-on to the LSD-2.

www.RootShakers.com/RudeRecording.htm

[Brent Casey]

ARude: Decoding is an option for quad miking, but there is an easier approach. I hate to be less than forthcoming, but I will tell you that we here at PMI do have things like quad miking and surround recording on our minds...
As to using a B1 and B3 for M-S recording: Absolutely. Those two mics are quite suitable for the task.

Brent Casey

[kapman001]

Thanks to both of you for your responses!

[ARude]

Brent:

In my mind, decoding Blumlein pair is essential. If not the back channel information is out of phase to the front channel AND stereo reversed from the front channel info. The quad part was irrelevant except for the decade that I became acquainted with the technique. AND decoding for discrete quad is necessary and now likewise irrelevant. I was the CE for a station that broadcasted in SQ quad in the late ‘70’s.

[Brent Casey]

ARude,

We agree. But I am not necessarily alluding to discrete quad or Blumlein.

Brent