Recording Storms - Blimps and Pads?

[Nathan Moody]

I just think that MS gives more options, not just in post, but in the field. Using the 702 to decode MS lets you adjust stereo field width with the second channel gain pot, which is a fun option even if you don't record the raw MS signal. Plus, again, the MKH 30 & 40 combo is one of the best low-noise nature ambience rigs you can get (without a 2nd mortgage).

Certainly, though, if you don't wanna mess with two mics and MS, get a single XY mic and you'll absolutely, totally be fine. The 418 wouldn't be my choice, but hey, everyone's different and that's not a knock on it if you like its sound! Your situation clearly calls for balancing quality, simplicity, location workflow, and ruggedness, so use those parameters when making the call!

[Murray Fredericks]

What about using a 416 as the 'workhorse' for the shoot then adding an MKH 30 for stereo for the ambient effects?

Is the 416/30 setup a good option?

Cheers

Murray

[Nathan Moody]

Others may certainly have different opinions, but I'd think a 416 and an MKH-30 might make for an odd aural perspective. I think a bit more width in the middle channel is more standard, and might sound better...but I gotta say, I've never tried it! I know some have used the MKH-60 (shotgun), MKH-50 (hypercard), and MKH-40 (card) with no issues. Remember, though, that shotguns do have a lobe of sensitivity behind them, so I don't know how much that might color the sound. It seems a lot more common to use hypercardioids or cardioids as the middle channel.

Plus, a hyper or card would be usable indoors, where a shotgun isn't always a good idea. My first decent mic (well, second, after a large diaphragm studio/VO mic) was a shotgun, and in retrospect I wish I'd have gotten a hypercardioid instead (I own several now, but early on it would have been much to my benefit).

FWIW, and YMMV!