Lang Elliott wrote:
> Not quite right, I think. Mike noise doesn't exactly sum because of it's
> random nature; there is some natural phase cancellation that would occur.
> Klas could probably shed some light on this.
>
> Remember too that there is probably a slight PZM effect introduced by usi=
ng
> a barrier and keeping the mike elements close to the barrier. Far from a
> perfect PZM, but perhaps there would still be some additional noise free
> gain.
>
> I think if you use very low noise mikes to begin with, such as the MKH20'=
s,
> then stereo parabola is the way to go. If you then find it necessary to s=
um
> to mono, the result will sound extremely close to a mono parabola using t=
he
> same mike.
>
> At least that's my conclusion. Maybe I'm wrong.
Sounds about right. I cannot comment on any boundary effect until I see
your design.
And the most neglected part is why would anyone record in mono? It's far
easier to pick a faint sound out of a stereo soundfield than out of the
one point jumble of mono in the center of your head.
When I got the Telinga I got both the mono Dual Science Mic and the DAT
Stereo Mic. I fully expected to do nearly all my recording with the mono
mic and only use the stereo for less serious "listening" recordings. But
after trying both ways back and forth, the clear winner was the stereo.
Individual frogs were simply easier to identify. The Dual Science Mic
hardly ever is used. Our hearing system is set up to pick faint sounds
out of a soundfield like stereo gives us. That's equivalent to quite a
few dB of gain.
And on distance of pickup, the Telinga Pro V with DAT Stereo Mic has
recorded Barking Treefrogs from distances as great as a mile, through
forest! That's quite good enough for me.
So, I'm definitely interested in your MKH-20 system. Or maybe a M/S as
someone else mentioned. A M/S stereo pickup will be hard for the mono
lovers to find fault with. The mid mic is their beloved mono mic.
Walt
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