> You're absolutely right - except in virtually every MS
> configuration you add M+S to get L and subtract M-S to get R.
If we are looking at the S mic only that is a figure of 8 mic.
If you look at this kind of mic then the front of that mic
is S+, the + means it is in polarity, then the back is S-, -
means that the back is reverse polarity or - 180°.
Now the S mic can have the S+ pointed to either the right
or the lefts side and depending on this we have to do
either M+S to get L or M-S to get L.
So we are both correct depending on which way we put the
S+ on the figure of eight mic.
M = L+R S=L-R. M+S = (L+R)+(L-R)=L+R+L-R = 2L
M-S =(L+R)-(L-R)= L+R-L+R = 2R
I see clearly an old experienced recording engineer here, Dave.
> I say "virtually" because I have one mike pre-amp which
> as a built in matrix on inputs 1 & 2 and if you engage that
> matrix, it produces R on channel 1 and L on channel 2.
> The literature claims this is how all engineers do it but I
> have yet to meet any engineer who would have a stereo
> pair on his/her console with Right on 1 and Left on 2.
> It's just not logical. Why would you have your left channel
> to your right and your right channel to your left????
Just turn the S mic 180 degree and this particular matrix
will get the L & R channels as you are used too, Dave.
It all depends on what we are used to. I have an old Telefunken
matrix from the early 60`s that not ony does the L/R thing but
also has control of the center content so I can adjust not only
the width by manipulating the S content but also the M content in
such a way that I can control where my center is located in
between the speakers.
Very good to center a off center soloist in relation to the mic on
the speakers without moving the mic.
The Mastering Room AB
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