Recently, I posted an article covering a number of the most popular methods of recording stereo material. Today, I want to build on that original conversation by giving you a taste of the power and flexibility of one of my favorite stereo recording methods – the M/S (Mid-Side) technique. If you haven’t read the original post, click HERE to do so.
As you’ll recall, once the M/S system is decoded, you will have three separate tracks in your DAW…the “Mid” (center) microphone, and left and right tracks created by the “Side” microphone. By adjusting the volume and panning, and by muting selected tracks, a whole new world of options will be available during mixing, that will help you fit your tracks into even the most troublesome of mixes.
For some examples, I’ll be using a single clip of a recording I made of a Tacoma acoustic guitar using an M/S technique. The “M” mic was a small diaphragm cardiod condenser and the “S” mic was a large diaphragm in a figure 8 pattern. The guitar was mic’d fairly close – about 9 inches out. There is no compression, eq, reverb, or other processing of any kind – these are raw tracks with the exception of the last track, where I demonstrate a creative use of M/S. Click on each example to hear the related audio clip.
Example #1 is a pure, traditional M/S recording. The volume on all tracks is the same, the M is in the center, and the S tracks are panned hard left and hard right. This results in a fairly “big” sound, with an image that is wide but also focused. This would be great in a mix where the guitar has plenty of room to breathe, or is one of the focal points of the mix.
Example #2 is a clip that shows the effect of lowering or raising the volume of the center track – starting with the center track very low and then raising it to full volume. In addition to the obvious changes in overall volume, you will hear a dramatic change in the tonal qualities. Additionally, you will hear that you can affect the perceived width of the track by adjusting the volume up and down. Adjusting the center track can help squeeze the track into a busier mix, or simply provide more creative options.
Example #3 is created by muting the left and right tracks, and using only the center mic. This method may prove very useful when a mix becomes crowded and there is simply not room for a stereo method.
Example #4 is created by muting the center track and using only the left and right tracks. In this example, they are panned 100%. Not featured in this recording, but still very useful tricks, are to try panning them in more to create a different image. Another effective trick is to blend the gain, so that one side is louder than the other. This can be used to reduce string squeaks on an acoustic guitar, or tame a piano player who might be be over or under aggressive on one of their hands.
Example #5 is a trick I call “Synthetic X/Y”. I do this by muting either the left or right track, and then hard panning the center track to fill the position of the now muted side track. This effectively recreates the image of an X/Y technique – while not a precise recreation, it is very similar.
Example # 6 is the same as #5 but with the panning positions reversed. Depending on the mic placement and the source being recorded, there can often be a fairly dramatic difference.
Example #7 is the same as number 5, but with the panning brought in so that it is a narrower, more focused image.
Example #8 is the only example that features any processing. In this example, the tracks are set up in the traditional method (see example 1) but the center channel has been processed. In this case, the track has been ran through a guitar amp simulator that has added distortion, EQ, Compression, Chorus, and Reverb. This might seem a little extreme, but serves as a good example, as this creates an interesting sound that now sounds more like a part that has been triple tracked – twice with acoustic guitar and once with an electric. As always, you can vary the panning, the volume blending, and of course – the processing – to fit your specific wants. Using this example as inspiration, you can see that you could experiment with separate eq, compression, or other processing on any of these methods, to have an unlimited palette of options.
One very powerful use of M/S that I should mention, but unfortunately don’t have an audio example of, is to help battle the effects of a performer who moves around while you are recording. Guitarists are big culprits here… A guitar player may move the neck forward and back a little during the performance, shift their weight, lean back, lean forward, or otherwise adjust their position while tracking. Sometimes, these changes can be distracting in the mix, particularly when using close mic’ing techniques. Intelligent use of compression may help but isn't always the best method. Using an M/S recording technique allows you to make small adjustments between the 3 tracks to compensate – for example, lowering the volume on the left side slightly and raising it on the right to offset for the guitarist pushing the neck slightly forward as they play. With a little automation, you can follow the movements of a performer to keep the track sounding more consistent, if that is what is appropriate for the song.
As you can see, using M/S has many benefits beyond simply capturing a good stereo sound. With a little practice, it can open up a whole new world of possibilities. Try these methods out on acoustic guitar, piano, drum kits, or anything else you can get your hands on, and learn how to use this powerful technique to improve your recordings AND your mixes.
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