Surround Sound Mic/Recording Techniques

[ben@tfp]

Hi there,

Does anybody know any really good techniques for recording in surround sound (5.1 preferably) or can recommend any high end microphones that they have used successfully?

I know there are a few mics out there but if anyone's had any experience of using any of them and can post a short view that'd be great!

Thanks

[T.RayBullard]

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Originally Posted by ben@tfp

Hi there,

Does anybody know any really good techniques for recording in surround sound (5.1 preferably) or can recommend any high end microphones that they have used successfully?

I know there are a few mics out there but if anyone's had any experience of using any of them and can post a short view that'd be great!

Thanks

[Yannick]

Surround mic alternatives...

[ben@tfp]

Thanks for the replies guys, I'll check these out!

[Dumb-Ask]

you might wonna check this site SoundField: Welcome to SoundField

I'm no pro and never used it but read good things about their surround mics

[pkautzsch]

Lots of options out there.
I'm not sure, though, if sort-of fixed setups are good. I'd prefer more flexibility if I were doing "real" surround recordings.I mean, each venue is different, and each ensemble is different, and each piece of music is different. Why use the same mic for all this, except when I want to represent "things as they are"? So I'd just use 5 mics and place them so it sounds good.
But I also prefer spaced pairs for stereo instead of fixed setups like ORTF or Blumlein.

[David Rick]

Originally Posted by pkautzsch

Lots of options out there.
I'm not sure, though, if sort-of fixed setups are good. I'd prefer more flexibility if I were doing "real" surround recordings.I mean, each venue is different, and each ensemble is different, and each piece of music is different. Why use the same mic for all this, except when I want to represent "things as they are"? So I'd just use 5 mics and place them so it sounds good.
But I also prefer spaced pairs for stereo instead of fixed setups like ORTF or Blumlein.

I'm with you on the need for adapting to the venue. For "main" arrays built with conventional microphones, I'm partial to OCT and the occasional Williams array. For ambience-only, I use the Hamasaki square a lot, and the IRT cross will work if you're deep into the reverberant field.

As regular readers of this forum know, I also like the Trinnov HSR array. Placement options are a bit more limited than with OCT or Williams arrays, but that's compensated by more flexibility in post production. I think the Trinnov HSR, or something like it, is the future of surround recording. But right now, a Trinnov rig is a very substantial investment.

David L. Rick
Seventh String Recording

[Kalara]

How-d

I've not actually had any experience with the holophone or the "All in One" mic set up, but I do have a lot experience recording and mixing live concerts in 5.1. For starters, I almost never use the center channel in my mixes for anything other than interview dialog. I find that more often than not, the addition of anything to center smears my stereo image, regardless of the center to side ratio settings. That being the case, I never mic the room for the center channel. That leaves a minimum of four mics to deal with.

Flexibility. Each room is different and requires different mic techniques. I agree with pkautzsch in that I prefer spaced pairs. Typically, I put 2 mics in teh rear, the higher the better, provided the rooom doesn't suck. They are almost always in OMNI. Everyone has their favorite mics, but I've always had great results with Neumann TLM 127's, DPA 4006's or Audio Technica 4050's. If your room has a mezanine, it may be cool to drape a few mics, again in omni, off of the balcony. Usually between 18 and 26 inches, depending on sightlines or the ceiling design.

Then I usually put a pair of cardiods on the lip of the stage faciing out towards the audience. Usually cardiod and someting with some color. I love my audio technica 4047's. Another great option are the DPA 4011's, (much cleaner).

Also, a pair of shotguns coupled with the front mics can be great for audience applause between songs.

This technique is obviously centered around a live performance with an audience.

There's no right way, but I love how it comes together in my mixes and my clients seem to be happy. Oh yeah, I always take measurements between the mics. This could help with some phase alignment issues should you run into them.

My two cents.

[RobAnderson]

I just completed my Master's Thesis on a Surround Sound project I am working on. You may want to check the list of sources for some good places to find information.

Among them are DPA's website and Dr. Gunther Theile's landmark paper.

This is a link to my NYU website (also in my signature):
Rob Anderson's NYU Website

There is a link at the bottom of that page to my thesis.

[RobAnderson]

Sorry - the draft version of the paper was still up last night.

Download the latest version (same link) - a bit easier to navigate

[huub]

did a popconcert yesterday, tried both a pair of b&k 4006 omni's and a pair of neuman km140 cardioids, aimed at the stage, from the rear of the hall..
Surprisingly, I very much preferred the cardioids!
Not too much room, very nice applause sound...