--- In "oryoki2000" <>
wrote:
> In my brief experiences with small recorders, the LS-10 stands out
in
> the way its built-in mics produce a "wider" soundscape. Most small
> recorders have mics that point forward, parallel to each other. The
> LS-10's mic capsules, in contrast, point away from each other in a
90
> degree spread.
The LS10 uses a technique similar to one mentioned by the late great
Michael Gerzon in an article about stereo shuffling and spatial
equalisation published in the July 1986 issue of Studio Sound
magazine. This involved two cardioids crossed around 115=B0 to 120=B0,
facing outwards, and spaced 5cm apart. The LS10's quoted width of
48mm puts the capsules the right distance apart, although they seem
to be at a narrower angle than Gerzon suggested (which may strengthen
the centre image a little due to it being less off-axis).
According to Gerzon:
"Remarkably, for normal stereo listening configurations, it turns out
that the 5cm spacing produces roughly the same phase/amplitude
relationships between the two ears of a listener in the stereo seat
as does a live sound from the same apparent direction up to about
2kHz =96 and in this respect is better than true coincidence. Such 5cm-
spaced crossed-over cardioids, angled about 115=B0 to 120=B0 apart, seem
to be an optimal cardioid technique for stereo imaging accuracy."
Perhaps this explains the LS10's impressive stereo imaging
capabilities?
Interestingly, Gerzon's article also mentions the technique of
spacing the mics a small distance apart and angling them inwards (as
used in the Zoom H4), but suggests that although it livens up the
sound, it degrades the stereo imaging - something my own experiences
with the H4 agree with.
- Greg Simmons
|