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Old 28th October 2019
  #2
Lives for gear
 

Quote:
Originally Posted by tuba_noise View Post
Hello, all!

I didn't seem to get any bites with this topic in the VR forum, and since this also dwells in the remote recording realm, I thought I'd try here.

I am looking to start research in the area of immersive sound and concert recordings, and in particular I am interested in finding ways to lower the barrier of entry, re: cost of equipment. I have some of my own high end mics, and use them for my own practice, but since the vast majority of students out there do not have the means to afford such equipment, I am interested in testing out equipment that is on the more affordable side. To start out, I'd like to experiment with a few different cardioid-based arrays, such as the Optimized Cardioid Triangle Surround format, and Double Mid-Side. I am also interested in a technique mentioned in one of Dr. Gunther Theile's papers, concerning the use of 5 equally-spaced cardioids across the width of the concert stage. This would especially come in handy next summer, when I will be recording a summer music institute which features a variable number of stage setups and positions for each concert.

I am torn between a few different sets of equipment, and wondered what the opinions were on this forum. Let me know what you think!

-Buying five Line Audio CM4s, and trying to create a Wide Cardioid Surround Array (as seen here: https://www.dpamicrophones.com/mic-u...nd-microphones). These could also be used for the five-cardioid array mentioned above. With the low cost, I could also get a set of five OM1s.

-Buying five of the Rode NT-6s, along with omni capsules. I have and use these mics, and have always been impressed with their quality. With the omni caps, I could have access to a number of different immersive recording techniques. The Rode NT5s would also suffice, although I do like the active cable version of the mic.

-Buying a decent quality multipattern to combine with cardioids in a double Mid-Side arrangement (something like the Rode NT2A or sE 4400a).

-Buying one of the B9 audio figure-8 mics, to do Double MS as well.

Keep in mind that I'm going for more budget-conscious equipment on purpose--the goal here is to document budget-friendly and accessible alternatives for students/home recordists that want to get involved with immersive sound.

Let me know what you think!
my choice of surround sound mic setup depends on what i am (or a composer, producer, conductor is) trying to achieve:

- if recording to dsd or hard patching/routing mic signals to surround buses, i'm using a spaced array.

- if i want to have options in terms of the routing/mixing and adding spot mics, i'm using a coincident mic array (mostly soundfield or double m/s)

- my preferred surround sound stems from a combination of coincident and spaced surround systems: coincident for the front, spaced for the rear.

- for immersive, i add an additional mic system (mostly double ortf) but frankly, i don't find immersive very valuable for music release.

mics? depends on your budget - soundfield or double m/s imo are hard to beat in terms of simplicity, setup and handling plus allow for multiple options in post while you're pretty much stuck with any spaced array (and some of them imo also look rather scary...

Last edited by deedeeyeah; 29th October 2019 at 10:22 PM.. Reason: typo