Ricky Graham <ri...@rickygraham.net> wrote: 

Does anyone have any experience recording B-Format with multiple microphones 
set to specific polar patterns (i.e. if you don’t have access to an ambisonic / 
tetramic?). Is it possible? If so, what are some of the issues / problems with 
this approach?

*******************************************************************************************************************
Along with Thomas Chen, I wrote two AES papers on this subject, "The Native 
B-format Microphone" parts I and II.  The abstracts can be seen here:
http://www.aes.org/e-lib/browse.cfm?elib=13348

http://www.aes.org/e-lib/browse.cfm?elib=13444


The gist of the papers is, as you say, how to record B-format if you don't have 
a soundfield microphone.  Aside from getting the microphones as close together 
as physically possible, it's important to do some post-processing to make the 
frequency responses of the various microphones more alike than they naturally 
are.  Most figure eight condenser microphones roll off in the bass at about 150 
Hz.  Most omni microphones make it down to 20 Hz or lower.  You can either 
boost the bass on the Fig 8s or roll-off the bass on the omnis. We used two 
systems.  One of them was comprised of lavaliere microphones (or hearing aid 
microphones) and the other was two Schoeps Mk8s and an Mk2.

One idea that we didn't try is that perhaps the omni (W) should be facing 
upwards.  Omnidirectional microphones, even very good ones like the Schoeps, 
are really not very omni.  So facing the microphone upwards guarantees that the 
response will be the same in every direction in the horizontal plane. The 
front-back (X) microphone can be placed above the omni, facing downwards.  That 
leaves the left-right (Y) microphone to be placed elsewhere.  There are no 
perfect solutions here!

If you would like copies of the two papers, just let me know.  I haven't looked 
at  them since we wrote them, but I don't think that we told any lies!

Eric Benjamin
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