Okay, the next thing I want to talk about is stereo because here's the thing so I think most people will agree with me that said that said that if you consider a sound of an acoustic instrument if you if you listen back to that at home, stereo phonic recording is always much nicer and much more appealing than then a simple mono recording. So so it would be great to have the sound of this guitar in beautiful stereo. Now he has straightaways an issue because because earlier, we found the perfect spot. Yeah, and we have an omnidirectional microphone. So that's great, but mono. But let's think about it.

How could we make it stereo well, using omnidirectional microphones. This is only possible if we have the second microphone at a different point in space. So we saw that there is the microphones register a different sound. If you have two omnidirectional microphones together, this is called coincidental, then there's no point because they, they pick up the same point in space, they have the same sound. There's no point in doing that. So the only way to create stereo with omnis is that technique is called a B. and a B is a situation whereby you have two omnidirectional microphones deliberately spaced away from each other so that they register the timing difference.

And then and then if you guys then bend one microphone hard lesson from Ben heartburn microphone, right? Yeah. Then Then it is these these timing differences that are going to create the stereo image. Yeah. And, but he has straightaway. I want to point out as remember when I earlier scans the guitar There was only one spot around here somewhere where the sound was at its best.

Yeah, that means automatically that the second microphone that has to be in a different spot is going to be in a spot that doesn't sound so nice. So what essentially what we're ending up doing is the fact that that's compromising the quality of the sound, just to make it stereo. So I just want to demonstrate that. Okay, so here we have our ABC setup. So so one microphone is in the perfect place, the other one has to be in a different place. So with AB registering timing differences are the minimum distance between the microphones has to be 17 centimeters is because the 77 centimeters is on average, the distance between our two ears and, and so we're going to bend these microphones hard left and hard right.

And and if you played it a bit you're here two things. Of course, you Initially, he had the appeal of the stereo sound. But But if you will, if you listen carefully, then the tundra of the instruments is not as nice and it's quite simple because this microphone is in less than ideal space. If you mute this microphone for a second the original one for you went to listen to this one on his own was the number five. Yeah, it just doesn't sound as good. Yeah, it sounds less attractive.

Yeah. The sound completely awful but less attractive. And we want to get the best out of it. So like I said, compromising our our our our AR sound, just to make it stereo. So you can clearly see that to death. AB is is the is no perfect.

Another thing what I could have done, I could have to also position this to another place. But then of course, it gets even worse because then you have two microphones, which are not in the perfect place. Yeah. So ABS for that reason is not great. And another reason what is the downside of it is that there's not more compatible. Yeah, right now these microphones are bent hard lesson arise.

Yeah. But imagine if you were listening back to this in mono. If you guys can find the two together, then you'll hear that's because of the timing differences. Yeah, it's certain frequencies will enter these microphones first and that might come later and other ones vice versa. And if you mix the two mics together in mono, then this causes phase cancellation for certain frequencies and essentially comb filtering and composing, causing the complete change in Tamra and listen to deputies. If you go to mono It changes the sonic signature of the guitar.

All right, so, so previously we saw that making the GI star sound stereo with with two omnis is, is tricky. Now this because with two only microphones you can't have your setup to be coincidental, meaning that both microphones on a coincidental microphone technique. The idea is that the diaphragms are as much as possible in the same place. So that Any sound coming from anywhere arrives at both microphones at exactly the same time. Now with omnis, that's clearly nonsense because then you would have two microphones picking up the same sound in the same space, it will be totally nonsense. But but it does work with directional microphones.

So I've had to go back to my Norman K and one eight fours, both cardioid microphones, and you put the diaphragms as you can see as closely together as possible. I've tried to put it in the same place that we earlier determined with the shops that was the best sounding space as far as the guitar itself is concerned. And now I have an XY set of xy setup is to cardioids under an angle of minimum 90 and maximum hundred and 20 degrees, whereby it is the level differences this time instead of the timing differences that are going to work to give us the stereo image. So for this, you need to you need to have your pen pot, left and right for both microphones and and To hear that you have a new type of stereo stereo ditch that is stereo image, which is determined determined by level differences instead of instead of timing differences straightaway, remember, we're dealing with with cardioid microphones.

So so we are very limited into how far I know how close we can get because of the proximity effects. Yes, so maybe I should complain a little bit. And perhaps again, you can see straightaway here, okay, the stereo might be appealing, I can hear a bit proximities I can you hear low answers a little bit, a little bit of reinforced which is not so good. The fact that the stereo might be appealing, but what I want you to also is if you get especially if you are sit in between the loudspeakers, you see that because these microphones are are pointed at completely different parts of the guitar, that if you pan it hard left and right, that it seems to exaggerate the size of the guitar on its own, despite not being straightaway disturbing, but but especially when you mix it in with other instruments, for instance, the pianos and drums, and these instruments, they, they they have a larger size.

So it's very strange if you mix them together to hear the guitar with the with the similar sizes to that of a piano or a drum kit. So so try to have a listen, I'm not making any changes, but now try to focus only on the exaggerated size of the instruments. Okay, Now, I don't want to completely slag off x y because I also want to demonstrate while we're here that there's some some really cool things about it. And and that has to do with with the fact that we're dealing with a coincidental microphone technique remind you a technique whereby sound waves are picked up by the microphones at the same time. And in our previous example, we have of course the microphones pens hard left, right extreme Yeah. But I also want to demonstrate how that so that if you if you bring your pen pulse in then you're allowed to do that you can do that and because there are no timing differences that we mixed together, there is no comb filtering, there's no phasing and, and because of that, the we have some kind of control over the stereo with without changing the tambour of the guitar guitar will simply go from mono into stereo without a change in EQ in the change in tambor So, so maybe so you can play a little bit, and you guys can demonstrate how you slowly painted in all the way to complete model animation.

To stereo, and then and yes, the only thing that should change is the stereo image but the tambor should stay the same