Hi Jos=E9,
I was (and am) very interested in the Blumlein technique; I love the
image it provides... BUT... have not been able to apply it widely for
field recording.
I have tried using Sennheiser MKH mikes in this configuration with
mixed results so far.
There are significant technical challenges, particularly with
mounting/windscreening. The optimum arrangement for Blumlein is
usually with the two microphones mounted facing one another end-to-end
-- which is VERY tricky to do in a Rycote windscreen or something. I
have the parts for a never-completed project to create a custom
mounting to do just this in a very long windscreen, but even then the
mounting to tripod would be difficult.
You can do near-coincident mounting with decent results, but the
imaging of near-field subjects can be impaired. :/
The bigger obstacle however is definitely tactical -- the fact that
the technique does not reject the rear at all (there is no rear...)
can produce very odd imaging issues, particularly with moving sources.
In the studio Blumlein is useful because you can control what is
presented to the rear of the microphones by making sure that the mics
have subjects within a certain range of the front -- but in the field,
subjects to the "rear" are just as present as those in the "front."
Subjects that move from one quadrant of the soundfield to another
(e.g. flying over the mics front front left to rear right) produce
*very* strange results...!
This is VERY different from M/S, which is by design focused to front
with excellent rear rejection. :)
Best regards,
aaron
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