Klas-
I'm afraid perhaps you take my "soft center" comment as a negative critique=
,
which I do not intend! I'm aware of your design tradeoffs. I'm familiar
with various mic arrays and techniques and use a variety in my work -
typically choosing between M/S, spaced omni, head-mounted pseudo-binaural,
ORTF, or mono as the source and the intention dictate...
Some time ago I came to the conclusion that the "HF-hole" as you
characterize it can be quite useful and "alive". Like a photographer
choosing a lens. For a strong center, I would choose MS.
There's a strong sense of depth in the snow recording: the dry, upfront
crystal snowflake falls, juxtaposed with the distant car by / tires crushin=
g
ice which activates the larger acoustic space, giving a sense of layering,
space and place. (Barry Blesser's work helps clarify: the acoustic space
being the second acoustic chamber of the instrument; how much and how deepl=
y
position and perspective is intuitively evident via reverberation.)
A captivating image. While the center is not strong, I prefer this for this
recording.
as you say:
The point ... to create a easy, handy and fast system for SoundScapes,
> reliable,
> insensitive to wind and handling noise and giving a sound which is
> nice to the ear
It seems you are meeting these goals very nicely. To me it's very
attractive.
best regards,
jeremiah moore
On Tue, Dec 15, 2009 at 7:45 AM, Klas Strandberg <> wrote=
:
>
>
> Yes, you are right.
>
> Had my tripod head been more flexible, I could have pointed more
> downwards with the mike and thereby given more "snow-sparkles" in the
> center. However, a "HF-hole" in the middle is a "problem" with this
> kind of mikes.
> I wish I had had five more minutes testing the mike with this
> "snow-sparkling!" I have never ever heard a similar "tiny" sound, so
> widely and equally spread all over the place. It sounded like the
> whole universe was sparkling! Now there is 10 inches of snow all over
> and I will be very lucky to record such an event again.
>
> The hole is a consequence of the two mikes, boosting HF sideways and
> can only (...?) be heard (in a bothersome way..?) when you record a
> widespread "sparkle all around" as when the grain snow hit the frozen
> leaves in this almost panorama way.
>
> A more "common" stereo picture is at the the ending of
> http://www.telinga.com/gallery/tripple_birdfeed.mp3 where you don=B4t
> clearly hear the hole, as there are no audible HF getting boosted
> from the sides. Birds are flying between the feeder and a tree at the
> left, and I don't hear any bothersome change of wing sounds over the area=
.
> I have tried out a prototype where the mic capsules point forward,
> not to "shade" themselves, but then I loose some of the "crispiness"
> that I like and that so easily can be filtered, then also reducing
> some of the mic self noise.
>
> The point with trying to design something like the Muriemike, is to
> create a easy, handy and fast system for SoundScapes, reliable,
> insensitive to wind and handling noise and giving a sound which is
> nice to the ear.
> If "State of the Art" measurements + a good middle is required, only
> the best M/S system will do and then we enter into another world, you kno=
w.
> Still, I must say, - I have heard professional M/S recordings which
> have been less "alive" than from binaural and semi-binaural set-up's,
> some M/S has even been "flat".
>
> But I agree with you, jeremiah, the track would have been even nicer
> with "sparkles" all over. I try to stay happy having got the recording at
> all.
>
> The design of the MurieMike is an adventure! There are many options
> to make it more and more complicated in order to make it more
> accurate, but I must not end up with something which cannot be easily
> manufactured.
>
> Best wishes from Klas and a snowy Sweden.
>
>
> At 00:13 2009-12-15, you wrote:
> >klas-
> >
> >The reverberation of car tires crushing ice, amidst the close-to-mid fie=
ld
> >ice crystals, and later bird vocalizations is a very nice image.
> >
> >There does not appear to be a strong center (nor is there a "central"
> >subject.) For me, this is very nice for ambience.
> >
> >Assuming this is the Olympus LS-10. (?)
> >
> >-jeremiah
> >
> >
> >
> >
> >On Mon, Dec 14, 2009 at 5:38 AM, Klas Strandberg <<tel=
inga%40bahnhof.se>>
> wrote:
> >
> > >
> > >
> > > New MP3 at http://www.telinga.com/gallery/gallery_private.htm
> > >
> > > I have never heard it before.
> > >
> > > Klas.
> > >
> > > Telinga Microphones, Botarbo,
> > > S-748 96 Tobo, Sweden.
> > > Phone & fax int + 295 310 01
> > > email: <telinga%40bahnhof.se> <telinga%40bahnhof.s=
e
> >
>
> > > website: www.telinga.com
> > >
> > >
> > >
> > >
> > >
> > >
> >
> >
> >
> >--
>
> >----------------------------------------------------------
> >jeremiah moore | SOUND | <jmoore%40northstation.n=
et>
> >http://www.jeremiahmoore.com/
> >
> >
> >
> >
> >
> >------------------------------------
>
> >
> >"While a picture is worth a thousand words, a
> >sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause
> >Yahoo! Groups Links
>
> >
> >
> >
> Telinga Microphones, Botarbo,
> S-748 96 Tobo, Sweden.
> Phone & fax int + 295 310 01
> email: <telinga%40bahnhof.se>
> website: www.telinga.com
>
>
>
>
>
--
-----------------------------------------------------------
jeremiah moore | SOUND |
http://www.jeremiahmoore.com/
|