Thank you Aaron for your prompt answer.
My objective is to capture the ambiance in a way not so directional as in t=
he ms setup. Do you know how it works differently in headphones and in the =
room with two channel stereo left and right?
Walter Tilgner naturecordist in Germany, James Boyk pianist and sound engin=
eer in California and Chesky records are examples for blumlein uses, Do you=
know or anybody knows other examples.I would like to listen these example=
s.
I make my own windscreens and mountings and I am thinking to mount one wind=
screen with half the micros outside, the rear part of the two micros outsid=
e, the problem is the wind in the two holes but you can put two litle circl=
es inside the windscreen in the micros body, these circles don't need to to=
uch the windscreen and they act as a barrier to the wind.
Best regards,
Jos=E9
--- In Aaron Ximm <> wrote:
>
> 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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