Thank you Eric,
Another two that record in blumlein. I have find also Water Lily.I am going=
to listen these recordings and after that decide.
Most part of the time when I am reconding ambiences there is no subject in=
front of the mics, the birds; the sounds came from all the 360=BA circle, =
and I am not interested in make my own selection.
--- In Eric Benjamin <> wrote:
> > anybody knows other examples (of Blumlein technique)
> Blumlein records in Germany frequently uses that technique:
> and Opus 3:
> It can be difficult to find examples of recording technique.=C2=A0 And wh=
at could be
> more important?
> From: freitojos <>
> Sent: Tue, September 27, 2011 5:12:50 PM
> Subject: Re: [Nature Recordists] two Senheiser mkh 30 fig 8 in blumlein s=
> Thank you Aaron for your prompt answer.
> My objective is to capture the ambiance in a way not so directional as in=
> setup. Do you know how it works differently in headphones and in the room=
> two channel stereo left and right?
> Walter Tilgner naturecordist in Germany, James Boyk pianist and sound eng=
> in California and Chesky records are examples for blumlein uses, Do you k=
> 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 lit=
> circles inside the windscreen in the micros body, these circles don't nee=
> touch the windscreen and they act as a barrier to the wind.
> Best regards,
> --- In Aaron Ximm <aaron.ximm@> wrote:
> > Hi Jos=C3=A9,
> > 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
> > --
> > =C2=A0 aaron.ximm@
> > =C2=A0 quietamerican.org
> > =C2=A0 oneminutevacation.org
> > =C2=A0 83% happy
> > =C2=A0=C2=A0 9% disgusted
> > =C2=A0=C2=A0 6% fearful
> > =C2=A0=C2=A0 2% angry