The ideal equipment that we recommend, with a minimum of dimensions and weight, includes a Cooper CS 104 field mixer associated to a Sound Devices 744T recorder, all in an especially adapted Petrol bag. Not to forget the famous Schoeps Double-MS microphone in its Rycote WSR windscreen with which one can associate a DCA rainproof windscreen, very effective to cut violent winds, even in dry weather. The choice of CS 104 allows the mixer four inputs post-fader linking thanks to the AudioQuattro module developed at DCA in order to level the three microphones with convenience. For those, which would prefer to work in an "American way" meaning in pre-fader, one will advise the Sound Devices 442, on which the levels could be set, uncomfortable, by means of the input trims that are nevertheless non linkable. With one or the other field mixer, it will be appropriate to setup the inputs level in the 744T internal menu. Lack of a real monitoring routing in the 744T implies to monitor, apart mono, either the front MS, either the rear MS or to use two Otoquad with the Surround headphone manufactured by DC Audiovisuel.
Sound thus recorded can be used in a traditional way (cardio only, simple MS), in 5.0 Surround or in quadraphonic, which allows a great coherence between front and rear ambiances.
With the condition to cut off the punctual noises in an ambiance recorded in Double-MS, one can use front ambiance fade out to rear ambiance to simulate the distance from the sound source.
The small spacing between capsules is of great interest, because it allows a remarkable sounds spatialization that depends on the perception of depth and of the many reflections of random phases.
One of the principal advantages of sound recording with Schoeps Double-MS microphone is to be able to modify the useful angle of sound recording; one have just to modulate the bidirectional microphone level. Thus, higher is the S (for Seite, side information) level compared to the both M (for Mittle, centre) frontal and back levels, lower is the useful angle of sound recording. This is due to the growing effect of the bidirectional microphone that involves a wider lateralization of the image source. Be careful not to use extreme values that would cause serious homogeneity problems.
Consequence of that is that it will be more interesting to enter the both cardioids by pair in order to link them (1&2 or 3&4) and to leave the bidirectional unlink. As for monitoring and post-production, we advise to route the three sources out to four tracks by doubling the Bi mike, front cardio on A, Bi on B, rear cardio on C, Bi on D, allowing to monitor either the front MS, or the rear MS and of course the quadraphonic thanks to the DC Audiovisuel Surround headphone.
Sound thus recorded can be used in a traditional way (cardio only, simple MS), in 5.0 Surround or in quadraphonic, which allows a great coherence between front and rear ambiances.
With the condition to cut off the punctual noises in an ambiance recorded in Double-MS, one can use front ambiance fade out to rear ambiance to simulate the distance from the sound source.
The small spacing between capsules is of great interest, because it allows a remarkable sounds spatialization that depends on the perception of depth and of the many reflections of random phases.
One of the principal advantages of sound recording with Schoeps Double-MS microphone is to be able to modify the useful angle of sound recording; one have just to modulate the bidirectional microphone level. Thus, higher is the S (for Seite, side information) level compared to the both M (for Mittle, centre) frontal and back levels, lower is the useful angle of sound recording. This is due to the growing effect of the bidirectional microphone that involves a wider lateralization of the image source. Be careful not to use extreme values that would cause serious homogeneity problems.
Consequence of that is that it will be more interesting to enter the both cardioids by pair in order to link them (1&2 or 3&4) and to leave the bidirectional unlink. As for monitoring and post-production, we advise to route the three sources out to four tracks by doubling the Bi mike, front cardio on A, Bi on B, rear cardio on C, Bi on D, allowing to monitor either the front MS, or the rear MS and of course the quadraphonic thanks to the DC Audiovisuel Surround headphone.
