Techno junky wrote:
I must have misunderstood what was supposed to happen in MS-XY. In any case, am I corect in that I should have set the recorder, not only to MS & XY, but also to RAW for the best post recording editing? Would the file take in a new name when it records this way?
In 4-channel surround, you will have one stereo file from the X/Y microphones (focused on which ever side they are at). You will have a second "stereo" file from the M/S microphones -- nominally a real stereo file using whatever stereo separation setting you have selected.
If you set the M/S to "MS-RAW" you still get a stereo file -- but the contents aren't stereo! One side will be the "mid" element (the one pointing straight out the H2n, on the side opposite the X/Y elements) and the other "side" is the figure-8 pattern that sticks out both sides of the H2n, perpendicular to the M. MS-RAW can not be used without some sort of encoding applied to map it back to real stereo (if you split it into mono left and right, and delete the right, what is left is a mono cardioid).
In 2-channel surround, the M/S can NOT be set to MS-RAW because it is mixed with the X/Y stereo to create a single stereo file.
The recorder was 7 or 8 feet, directly center of the band. The band is two with guitars, and a zoom drum machine. They sing into microphones, so the sound all eminates from the speakers that are directly behind them.
The entire band was on one side of the H2n? That means the audience was on the other side of the H2n... In 4-channel surround, you'd end up with one file mainly of the band, and the other file is basically just the audience noise.
All of the band instruments, and the vocals, are being mixed and fed to speakers? Nothing you do with the H2n will let you pick out the vocalist for separate effects -- you are recording exactly what someone sitting at the recorder position would hear.
To be able work on each source separately, you'd need a multi-track with enough parallel inputs (I emphasis "parallel" as, for example, the BOSS BR-800 has four microphone/line inputs, plus one instrument input, but there is only one mode that uses all four inputs at once -- most use input-4 [phantom power for condenser microphone], with or without the instrument input. Stereo input uses input 1&2 [no phantom power] ONLY. Input 3 just hangs around until you use a 4-input mode... The Zoom R16/R24 can use up to 8 inputs at once, each creating a mono track that can later be panned to adjust position in a stereo field, and adjusted in level after the fact).
The multi-track would have to be able to pick off the individual inputs to the mixing board (which means a mixing board with individual outputs /before/ the mixing controls.
I guess I am going to have to experiemnt with the surround setting, and an external microphone in place of the XY. If I do this, and place them correctly, I should be able to get more from the artist, and less from the crowd. It's good that I dod this with theri cooperation, I would hate to be trying to do this without being noticed.
As long as your primary sound source is the mix from the speaker stack, you will be limited...
In 4-channel surround (IF IT ALLOWS AN EXTERNAL MIC) you could maybe fit a microphone next to a solo vocalist microphone, and use the M/S to pick up the speaker mix -- but that still means you'll have the speaker mix to live with, but would have a fairly clean solo vocal for later processing. [I suppose really good gear could use the soloist track to remove him/her from the speaker mix, but it would require exact phasing (180 degree out of phase) and level matching so the solo track subtracts from the mix.
The normal usage of a "surround" mode is just that -- to record sounds (and placement) from all sides of the recorder position.