Hi Jörn, On May 1, 2011, at 9:39 PM, Jörn Nettingsmeier wrote: > for me, 1st order horizontal is nice but on the brink of collapsing due > to ambiguous source localosation, 1st order peri tips it over the edge. > that's with my sound engineer's ear, not with my music appreciation ear. > > paul's first order recordings are lovely, but kind of easy on the > format, since they have a frontal soundstage for the most part, which > you "tune in" to, and simply disbelieve any spuriousness from the rear.
You do remember that in "Epiphanie" we had 24 musicians surrounding the mics in an 8 m / 24' diameter circle ;-) We got a very nice rendition with POA but I think the important point is that the main setup was constructed of four M/S pairs facing in the four cardinal directions, each 2 m / 6' from both the center and the musicians. I panned the L/R-component into eight segments (using Bruce's fine plug-in) and rendered to 5.1. Localization was very good on a standard 5.1 setup using five single driver Ginko's. On May 1, 2011, at 10:11 PM, Jörn Nettingsmeier wrote: > On 05/01/2011 04:32 AM, Stefan Schreiber wrote: >> A typical B format mic is good for ambience recordings, but maybe not >> for orchestral recordings, or in fact any musical recoding with a group >> of people playing. > > that depends on the material, and your target system. spaced omnis sound > more "WOW" on stereo than any coincident technique, so if that's the > target, no point in using a soundfield, unless you want to cater to > those few localisation nutheads who'd also use (gasp!) a blumlein pair > (like yours truly :). Since I have added a TetraMic to my collection I've used it on nearly every recording session. It's a great center mic, you can nicely extract directional "spots", and in some contexts it even constitutes a usable Hauptmikrofon--for (Ambisonic) surround as well as stereo. Cheers, Andrew _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound
