![]() ![]() ![]() From my view, I wouldn’t use it on ambiences, it truly isn’t fit to be ambience oriented because the center (the M channel) plays an important role in the balance of its recordings. It gives real different results than any other techniques. The signal then needs to be simply decoded. In this configuration a cardoid microphone is put in coincidence with a bi-directional microphone. It is easy to set-up and doesn’t take much space, so easy to carry around. ![]() The M/S gives a perfect mono compatibility. Although for distant ambiences, it gives some nice results. It is not as impressive as the spaced pairs and can introduce a ‘kind-of’ ‘distorted reality’ if we take into account the the separation between the capsule are wider than the human ears. This technique is less known and less used, but it is really interesting as it gives a wider stereo scape than ORTF, however it is more difficult to put in practice as it takes a wider microphone bar placement or 2 stands. The microphones are set apart at 30cm far and angled at 90° or 110° outwards. However some technicians call it ‘binaural’ or ‘semi-binaural’ as it creates a soundfield similar of the reality, true binaural recordings use omni microphone and dummy head to shape the frequency range response and gives different results. This technique is intended to replicate the earing of the human head by placing the microphones at the average actual position of the ears (around 17cm) and at an angle of 110°. Also it is more easy to set-up than NOS or Spaced Pairs. I love this one as it allows to a good stereo balance on most of the sound reproduction systems and is relatively mono-compatible. It is known of having less phasing issue since the capsule are coincident, but it is to the extent of dampening the sound in a certain way making it less appreciable than other techniques (in my opinion). It is possible to vary the angle more or less in order to widen the stereophony.Īlthough the center imaging is very stable, it is less impressive as a stereo ambience recording as it narrows the spread of the soundscape. It consists of placing the capsule at the same point with an angle of 90°. It is also the one that we encounter the most for built-in microphone on handheld recording devices. This technique is maybe the most easy to set-up. ! I want also to warn that these recordings are not pure of extra noises, there were some sirens, and people passing around, but overall I think it is still a good reference for a comparison purpose. I will, along the audio examples, explain the techniques implicated in the exercise. In my case, there was a building behind me, with a disgraceful fan noise (even at 50m far), so I can assure cardoid choice was way more friendly for this location than omni. I must advice Omni are maybe the best option for ambience recording but not everyone have access to a good quality pair of omnidirectional microphone, plus depending on what you record, cardoids would be a better choice (but this is an all other topic that I will try to delve into in the future). I did not use omni microphone for 2 reasons: I simply did not have access to one at that time, and most of all I think it should be the subject of another comparison exercice (difference between microphones, polar pattern,…). I recorded everything with a Sound Devices 788T and using 2 Sennheiser MKH 8090 (wide Cardoid) and 2 Rode NT5 (cardoid) and 1 AKG C414 (for M/S config). I was situated in a open-spaced park, kind of up-hill, at a distance of about 70m from the nearest road. For this purpose I recorded city street ambience (semi-distant) in the city of Montreal. Today, I decided to do something useful! □ I did a comparison of 5 common stereo microphone placement techniques. ![]()
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