Hi Jörn Thanks for your feedback.
I was thinking it was difficult to achieve, but I didn't think it would sound that bad. Having other spot mics sounds like a good compromise. Out of interest did you align all the mics along capsule axis? This is why I wanted to use platonic solids, as i thought the zoom in and out to each position would be better. For instance, a TetraMic in the centre, with the four others on the faces of a tetrahedron. Each of the four having their capsules on the same axis as the centre mics capsules. Also did you zoom in opposing directions for each position, while doing a crossfade? Ie the centre mic zooms in to direction of distance mic, while the distance mic zooms back out towards centre mic (from a zoomed in position away from the centre mic). I hope this makes sense as I'm sure my explanation iis less than succinct! All the best. Steve On 20 Jul 2015 16:44, "Jörn Nettingsmeier" <netti...@stackingdwarves.net> wrote: > On 07/10/2015 01:49 PM, Steven Boardman wrote: > >> Hi Peter >> >> Thanks very much, it makes for a good read. >> >> I intend to position the mics in platonic solid positions to help >> encoding, via laser guide/theodolite if possible. My intension is capturing >> the acoustic, rather than determining source position, so the quality of >> sound will be more important than accuracy of direction. Phase problems are >> probably the biggest concern, and why I will need to make sure I know the >> exact position of the mics relative to a central one. I intend to have >> synced sample accuracy for each mic, and will use tetramics, so am hopeful >> there will be less error than the Octavas they used. >> If anyone else has attempted this or has any other pointers I would be >> very grateful. >> > > There is no magical way of mixing many first-order mikes, so you can > forget about platonic solids. Instead, you should position them at the > desired virtual listening positions, and then later do crossfades between > them. > > I've tried it, it's basically crap while you crossfade. You get a stable > image in the beginning, and another one in the end. In my case, it helped > that I was using spot mikes at all sources, and I could pan those in third > order while the change of listening position was going on, and that made it > sort of convincing. > > The problem is that the kinesthetic impression of sitting motionless on > one's bum is very hard to overrule by subtle auditory cues. > > For another transition in the same recording, I had a colleague physically > carry a tetramic outside. Took some ruthless LF cutting to get rid of the > rumble (a good camera dolly might help here), but that one was a lot nicer. > But even here, the biggest auditory impact was change of acoustics and > ambience (from very reverberant indoors to gravel floor with birds above > outdoors). > > Good luck for your recording project, please keep us updated on the > results! > > > Best, > > > Jörn > > > > > -- > Jörn Nettingsmeier > Lortzingstr. 11, 45128 Essen, Tel. +49 177 7937487 > > Meister für Veranstaltungstechnik (Bühne/Studio) > Tonmeister VDT > > http://stackingdwarves.net > > _______________________________________________ > Sursound mailing list > Sursound@music.vt.edu > https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, > edit account or options, view archives and so on. > -------------- next part -------------- An HTML attachment was scrubbed... URL: <https://mail.music.vt.edu/mailman/private/sursound/attachments/20150721/8ea5d05a/attachment.html> _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
