3.5

159MainStage Effects
• Crossover field: Set the frequency where the signal is split between high and low
ranges. To type a value, drag vertically or double-click.
• Direction High/Low knobs and fields: Independently set the central pan position for the
recorded stereo signal in the upper or lower frequency range (set with Crossover).
• Spread High/Low sliders and fields: Independently set the stereo spread in LR signals
or set the side signal level in MSsignals for the upper/lower frequency range (set with
Crossover).
Stereo miking techniques
There are three commonly used stereo miking variations used in recording:AB, XY, and
MS. A stereo recording contains two channel signals.
AB and XYrecordings both record left and right channel signals, but the middle signal is
the result of combining both channels.
MSrecordings record a middle signal, but the left and right channels are decoded from the
side signal, which is the sum of both left and right channel signals.
ABmiking
In an ABrecording, two microphones—commonly omnidirectional, but any polarity can
be used—are equally spaced from the center and pointed directly at the sound source.
Spacing between microphones is extremely important for the overall stereo width and
perceived positioning of instruments within the stereo field.
The ABtechnique is commonly used for recording one section of an orchestra, such as the
string section, or perhaps a small group of vocalists. It is also useful for recording piano or
acoustic guitar.
AB is not well suited to recording a full orchestra or group as it tends to smear the stereo
imaging/positioning of off-center instruments. It is also unsuitable for mixing down to mono
because phase cancelations can occur between channels.
XYmiking
In an XYrecording, two directional microphones are symmetrically angled from the center
of the stereo field. The right-hand microphone is aimed at a point between the left side
and the center of the sound source. The left-hand microphone is aimed at a point between
the right side and the center of the sound source. This results in a 45° to 60° off-axis
recording on each channel (or 90° to 120° between channels).