Thank you Aaron for your prompt answer.
My objective is to capture the ambiance in a way not so directional as in t=
setup. Do you know how it works differently in headphones and in the room w=
two channel stereo left and right?
Walter Tilgner naturecordist in Germany, James Boyk pianist and sound engin=
in California and Chesky records are examples for blumlein uses, Do you kno=
anybody knows other examples.I would like to listen these examples.
I make my own windscreens and mountings and I am thinking to mount one
windscreen with half the micros outside, the rear part of the two micros
outside, the problem is the wind in the two holes but you can put two litle=
circles inside the windscreen in the micros body, these circles don't need =
touch the windscreen and they act as a barrier to the wind.
--- 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,
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