Wild Sanctuary wrote:
> It should be pointed out that none of the stereo systems offers a true 360
> degree listening experience by itself. To me, a realistic 360 degree
> experience means that you can place the listener within a non-headphone
> tethered sound field and anywhere he/she turns his/her head, they will hear
> the sound accurately portrayed from that perspective. 360 degree sound is
> listener-oriented and determined just as sound arrives at our ears in the
> real world. That can be currently accomplished by discrete 4-channel
> recordings or (as we have recently tested) two M-S systems placed
> butt-to-butt, and perhaps some other method(s) not yet well-known or
> explored like, perhaps, a tetrahedral array (giving the added advantage of
> height as well as depth of field on the horizontal plane).
I'm even more picky as I visualize a 360 setup as being actually a 3d
volume. And I'd also prefer that more than one can enjoy it at the same
time. That's going to be harder to do. For now I'm keeping my goals much
simpler, good stereo. That may wander into binaural setups or M-S, but I
am working on the stereo field, not surround.
> It's all a matter of taste. Test a whole bunch out and go with what pleases
> YOUR ear. I recommend using systems that are durable, easy-to-use, provide
> a good to excellent signal-to-noise ratio, and a reasonable to great
> illusion of space. Except for the specially configured SASS system
> described by Lang (and which we WILL explore when we get the bucks to do
> it)
That's the big problem with Lang's system. I figure I'm going to go two
steps on it, start with cheaper capsules to see if I like it at all,
then try for the expensive stuff. That way I can also explore some
technical issues that I'd not try using MKH20's. Or for which the
MKH20's are unsuited. Working with a built up mic is a disadvantage in
some ways.
The issue of practical to use is a important one for me. Does not matter
how wonderful the mic, if it's hard to transport or use, or can't stand
the outdoor environment, it simply won't be used. Whatever I have must
fit easily in a car with lots of other stuff, preferably in a ready to
go state. Due to the sort of locations I often have it must also be
something that can be hand held. Those criteria weed out some types.
, we use all types and all configurations depending on the application
> and what we wish the end result to be. Call me an end-resulter, if you
> wish. (I won't be insulted 'cause I'm just wired that way.) I go for what
> the illusion will sound like on a CD or in a public space installation so I
> don't necessarily monitor for the pleasure of the moment in the field. I'm
> happy enough to be there in the first place. Rather I monitor just to be
> sure that the M-S recording on tape or disc is as fine as it can be knowing
> that in the studio it will be close to what I imagined it should be, then
> detach the headphones. The M-S system we use is more difficult than other
> systems because it is not intuitive. What you hear using a simple pre-amp
> in the loop is clearly not a representation of what can be got in the
> studio or lab when doing the final mix. So I usually recommend simpler
> stereo systems to begin with.
As I often use the stereo field in the headphones to align the mics,
especially when hand holding, I've been looking at the business of how
to handle the M-S system for that. Aiming by sight in the dark is not
that precise. So, I'm wondering about a split system that feeds stereo
to the headphones, and the regular signals to the recorder for later
processing. I don't care if the stereo field I get is the best listening
one, just want to aim with it. Do you have any suggestions in this
regard? Hopefully something reasonably priced.
> Lesson the long way 'round: use different mics and find one or several you
> like.
I get the feeling I'm going to find I like several. But that each one
will do best at different things. So, just like I have a camera with
several choices as to lenses, I am working in the direction of a
recorder with several choices of microphones. And knowing those mics as
well as I know camera lenses.
Each microphone (or microphone combination) is going to take some time
to really get used to what it does. So, while I have initial
impressions, those are subject to change.
Worst part about experimenting is how much the mics cost. I just don't
think it would be effective to rent them for a short period to evaluate
them. Hopefully, by using things like Ebay to keep the costs down I
won't go broke doing it.
Walt
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