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Cantar-X User Manual v2.44 (r14) 2013 March 21
p.44
p.44
Surround 5 .1
For
Schoeps x2 M/S
mics or
SoundField
, there is no need
for decoding accessories. The onboard mixer has it all.
Double M/S
By Fr. Musy and Gab. Hafner, Switzerland
Microphone wiring
The Schoeps double M/S (L-C-R-SL-
SR) head is made of two cardioid and one figure-of-eight
microphones, it comes with an XLR 7 cable to which a home-
made XLR 7 to XLR 5/XLR 3 Y cable should be connected.
-
XLR 7
(F) 1 = gnd 2 = +M front 3 = –M front
4 = +S front 5 = –S front 6 = +M rear 7 = –M rear
-
XLR 5
(M) 1 = gnd 2 = +M front 3 = –M front
4= +S front 5 = –S front (yellow, red labels)
-
XLR 3
(M) 1 = gnd 2 = +M rear 3 = –M rear (gray)
Routing
The
XLR 5
goes to mic 3/4 routed to T3 and T4;
'
m-s
' declared, their monitoring output is automatically left/
right decoded. The
XLR 3
goes to mic 5 routed to T5,
panned to center. (See Mic Links 3>4-5, p.31).
Monitoring
T3 and T4 mixer faders at 100%, you listen
to the front stereo. T3 mixer fader at 0% and T5 fader at
100%, the monitor output becomes the sum of the 'S' figure-
of-eight on T4 (a+ a–) and of the 'M' rear mic on T5: you
listen to the rear stereo.
It is thus easy to alternately listen to the front or rear M/S, or
both, with 5.1 double capsule headphones.
Mixing
Launch Pyramix and make two M/S strips, one for
the front, one for the rear. Lay down the three track media
on the M/S tracks (the Pyramix CW), copy track2 'S front'
to track4 which becomes 'S rear', reinject 'M front' onto the
surround of the M/S front. You can also make an extraction
for the 'sub': here is your 5.1 sound!
Soundfield
B-Format
By Phil. Vandendriessche
Four channels:
X
front/back figure-of-eight;
Y
left/right figure-
of-eight;
W
omnidirectional;
Z
top/bottom figure-of-eight
(seldom used for now since
5.1 is 'horizontal' only).
The Cantar onboard mixer
handles the B-Format stereo
monitoring with adjustment
of the pattern and width.
Routing
Connect the Soundfield ST350:
X
output to line1->T5,
Y
to lin2->T6 (T5 & T6 '
m-s
' declared), and
W
to line3->T4
(panned to center). The Mic or Line-in gains (
1>2.3
ganged)
are adjusted to the half dB (p.17).
Monitoring
Faders T5 (
X
) and T6 (
Y
) at 100% level, makes
for a
Blumlein
"stereo pair" (two coincident figure-of-eight
microphones angled 90°); adding some T4 (
W
) to the mix
transforms the figure-of-eight components to cardioid (coinci-
dent "XY stereo pair". Faders T5 (
X
) and T4 (
W
) panned to
center at 100% level, and T6 (
Y
) at 0%, you listen to the left
component of the stereo pair. T6 (
Y
) and T4 (
W
) at 100%
and T5 (
X
) at 0%, you listen to the right component.
http://www.soundfield.com/soundfield/technology.php
The head rotation stereo simulation proposed by Phil VDD
will appear in a future version. Rotate the monitoring black
crown to 'B', to listen to the front, select the 'Fs' config; to turn
the head 90° to the right, select 'Rs' (inverted
Y
in the mix);
to turn the head 90° to the left, select 'Ls' (inverted
X
); to turn
the head to the back, select 'Bs' (inverted
X
Y
).
Mixdown with decoded M/S (or not)
The mixer faders and pan-pots feed the mixdown (Xa Xb)
tracks. The inputs are routed to the six tracks; an M/S pair
is connected to mic3 & mic4 and routed to track 5 & track 6
('
m-s
' declared). The M and S signals are recorded as
metered on the T5T6 modulometers and stereo decoded into
the mixdown output. If the editor prefers not to get stereo
signals in his reference sound, pan the M track to one side
or the other: the S track will disappear from the mix.
Documentary style with M/S background
The boom-mic on M5 in its island naturally falls under the
right hand. The 'active' RF mics go to M1, M2 on the front
row, and the peaceful RF mic goes to L1. The M/S pair on
M3 & M4, routed to T5T6, is displayed on the right screen
shared with the T7T8 mixdown.
Boom –> M5 –> T1; RF calm mic –> L1 –> T2
RF1 active –> M1 –> T3; RF2 active –> M2 –> T4
L or 'M'-mic –> M3 –> T5; R or 'S'-mic –> M4 –> T6
TUTORIAL
ONBOARD MIXER [1]
