The Advantages of Floor Coupled Up-Firing Speakers

[markus76]

Welcome to the real world: Multi-miked recordings are standard. Postprocessing in control rooms is standard. How this is done is NOT standardized.

[el`Ol]

There is just one really common way of doing stereo recordings: two cardioid microphones in ~ 30 cm distance, I forgot the angle. Far less common: Two omnidirectional microphones in ~ 20 cm distance with a ~ 20 cm diameter disc or sphere between them. I don´t what role the Blumlein pair (two dipole microphones in a 90°-angle) plays. Probably a rarity. If someone knows a recording, please let me know.
BTW: The only multi-channel-hybrid-SACD I have is from a label that does a lot of electronic ********, maybe nobody even tries to set a standard for "real" multichannel recordings.

[graaf]

Originally posted by markus76
Welcome to the real world: Multi-miked recordings are standard. Postprocessing in control rooms is standard. How this is done is NOT standardized.

well, by "panpotted" I meant (after quoted DW "Infotheque") of course "multi-miked"

how postprocessing affects intensity (interaural level difference) spatial cues?

best!
graaf

[graaf]

Originally posted by el`Ol
There is just one really common way of doing stereo recordings: two cardioid microphones in ~ 30 cm distance, I forgot the angle. Far less common: Two omnidirectional microphones in ~ 20 cm distance with a ~ 20 cm diameter disc or sphere between them. I don´t what role the Blumlein pair (two dipole microphones in a 90°-angle) plays. Probably a rarity. If someone knows a recording, please let me know.

I don't know but according to Deutsche Welle "Infotheque" what You describe ("two cardioid microphones in ~ 30 cm distance" or "Two omnidirectional microphones in ~ 20 cm distance with a ~ 20 cm diameter disc or sphere between them") that is various kinds of "delay stereo" is not something common at all, rather on the contrary:

Due to compatibility problems, delay time stereophony is rarely used.

see: http://www9.dw-world.de/rtc/infotheq..._recording.pdf

Do they misinform interested people?
Perhaps they do but why?
I don't know

best regards!
graaf

[markus76]

As "classic" stereo recording techniques are discussed in that paper I assume they speak of mono/stereo compatibility.

[graaf]

hey Markus!

how postprocessing affects intensity (interaural level difference) spatial cues?

regards!
graaf

[markus76]

? Depends on what kind of postprocessing is performed.

[graaf]

Originally posted by markus76
? Depends on what kind of postprocessing is performed.

what kind of postprocessing affects intensity (interaural level difference) spatial cues?

[el`Ol]

Originally posted by graaf


I don't know but according to Deutsche Welle "Infotheque" what You describe ("two cardioid microphones in ~ 30 cm distance" or "Two omnidirectional microphones in ~ 20 cm distance with a ~ 20 cm diameter disc or sphere between them") that is various kinds of "delay stereo" is not something common at all, rather on the contrary:



see: http://www9.dw-world.de/rtc/infotheq..._recording.pdf

Do they misinform interested people?
Perhaps they do but why?
I don't know

best regards!
graaf

I don´t know the percentages, but I always thougth the 30cm setup is the most common for cardioid microphones. Maybe I am wrong.

[markus76]

Originally posted by graaf
what kind of postprocessing affects intensity (interaural level difference) spatial cues?

I still don't understand the question. Any additional signal can affect everything. Depends on the signal (artificial reverberation, signal from a second mic, etc.).

This is more like how the last topics are discussed in the pro world: http://www.hauptmikrofon.de/theile/M....Oct.2001_.PDF