I found the vocal reverb detracted from the one-mic listening experience. If nothing else, IMO it should have been a subtle addition.
A One Mic Recording. This recording is part of an experiment demonstrating the sonic difference between a One Mic recording, done with the Josephson c700s microphone, and a more traditional multi-mic recording. The sound in this version is coming from the C700s microphone in front of the band. The other microphones are not being heard in this video. For more info on our one mic recordings visit: soundliaison.com/one-mic-recordings Carmen Gomes - vocal Folker Tettero - guitars Peter Bjørnild - double-bass Bert Kamsteeg - drums, Audio recording by Frans de Rond for Sound Liaison. Video recording by Wolfgang Maiwald
Thankyou for this very interesting info. Can you recommend recordings done in this way?2x fig-8 plus 1x omni does open up lots of opportunities. They could be summed to XY in any polar pattern, as well as M/S stuff (NB - M/S and XY end up being equivalent, but switching to M/S processing can be useful on occasion).
FWIW, though, 3x capsules doesn't necessarily mean a recording will be "better", it just keeps some options open.
An approach with similar results would be a Schoeps M/S setup, with a selection of different capsules for the M mic.
Chris
the latest 2 one mic recordings from Sound Liaison are completely different types of music. Cloud Song is at times very loud almost rock inspired jazz , while Down To The Downtown is intimate Americana songs extremely beautiful played by this guitar and bass duo. The problem I have with these albums is that all my other albums sounds artificial after hearing these.
Interesting. I have some reading to do understanding this stuff, but anyhow these various One Mic recordings are a revelation.2x fig-8 plus 1x omni does open up lots of opportunities. They could be summed to XY in any polar pattern, as well as M/S stuff (NB - M/S and XY end up being equivalent, but switching to M/S processing can be useful on occasion).
FWIW, though, 3x capsules doesn't necessarily mean a recording will be "better", it just keeps some options open.
An approach with similar results would be a Schoeps M/S setup, with a selection of different capsules for the M mic.
Chris
Something I've tried which works well is an ORTF and the spaced rears. Only the spaced rears are cardioid pointed up towards the ceiling. It's something from one multi channel technique, but it works nicely to mix into a stereo front pair for ambience with slightly reduced pickup of audience noises.
Interesting. I have some reading to do understanding this stuff, but anyhow these various One Mic recordings are a revelation.
That's not strictly true. Ambisonic mics capture the entirety of the soundfield. Ambisonic processing can deliver the acoustic perspective of anywhere within the soundfield, including both level and timing cues.When we, as humans, hear something off to one side, there's both a level difference between our ears, and a time difference.
Coincident mic techniques of any kind will only ever produce level differences between the speakers that are playing the signal back.
How will a Soundfield microphone deliver timing differences? Most are in a tetrahedron meant to function like a coincident mic even though they are very slightly not coincident.That's not strictly true. Ambisonic mics capture the entirety of the soundfield. Ambisonic processing can deliver the acoustic perspective of anywhere within the soundfield, including both level and timing cues.
That might including rendering to binaural format for headphones. Or rendering for full ambisonic playback array, with timing and level optimal for each speaker position.
To do anything less would result in an incoherent mess.
Don't think so. What the full B format is equivalent to is three coincident figure 8s and a coincident omni. They can give the equivalent result in any direction or pattern, but not in a different location.I understand the principle, but I'm not sure I can convey it.
With first order ambisonics the signals from the capsules (A-format) are processed via a matrix into X, Y, Z & W signals (B-format). The phase relationships are precisely maintained. From these signals an ambisonic rendering engine can derive a playback signal for any arbitrary point in space. Timing differences between the capsules form the basis for that transformation.
An ambisonic rendering into binaural delivers two distict signals. Both level and timing are handled. Ambi Explorer is a free Ambisonic playback app for mobile devices. It allows you to experiment with B-format files set, playing back into binaural. You can adjust the head position and hear the resulting change in the presentation.
Core Sound just posted something interesting about this on their FB page.Don't think so. What the full B format is equivalent to is three coincident figure 8s and a coincident omni. They can give the equivalent result in any direction or pattern, but not in a different location.
Don't have access to the full paper, but here is an abstract where they investigate using a pair of soundfield microphones to overcome that limitation.
Here is the patent from Gerzon and Craven.
US4042779A - Coincident microphone simulation covering three dimensional space and yielding various directional outputs - Google Patents
A microphone assembly for simulating a plurality of coincident microphones has at least four microphone units mutually disposed at the integration points of an integration rule for the surface of a sphere. In one embodiment, four such microphone units are disposed on respective faces of a...patents.google.com
Final sentence in the claim ends with:
........the same frequency response to sounds from all directions up to a limiting frequency and are substantially identical to the outputs obtained from a plurality of coincident microphones.