Alan Dower Blumlein, /me tips hat.
Heres a pair of cheap ribbon mics which I re-tensioned
http://soundcloud.com/urlme/t-bone-rb100-ribbon
Not the best system for nature recording without a gravity decoupling devic=
e and floating tripod.
Ive also tried them in a Faulkner array. Low sensitivity of the ribbons pro=
mpted my use of more sensitive hypercardiod dynamic mics.
Modified dynamics also work in ears for more mechanical amplification:
Heres a pair of Audix OM2 Dynamics, dismantled and rebuilt with custom made=
ears.
one of my "had to try it" projects...
http://soundcloud.com/urlme/melow-binaural
-Mike.
--- In "freitojos" <> wr=
ote:
>
>
> Thank you Eric,
> Another two that record in blumlein. I have find also Water Lily.I am goi=
ng 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.
> Best regards,
> Jos=E9 Freitas
> --- In Eric Benjamin <ebenj@> wrote:
> >
> > > anybody knows other examples (of Blumlein technique)
> >
> > Blumlein records in Germany frequently uses that technique:
> > http://blumlein.net/index_gb.html
> >
> > and Opus 3:
> > http://www.opus3records.com/phil.html
> >
> > It can be difficult to find examples of recording technique.=C2=A0 And =
what could be
> > more important?
> >
> >
> >
> >
> > ________________________________
> > From: freitojos <josefreitas81@>
> > To:
> > Sent: Tue, September 27, 2011 5:12:50 PM
> > Subject: Re: [Nature Recordists] two Senheiser mkh 30 fig 8 in blumlein=
setup
> >
> > =C2=A0
> >
> > Thank you Aaron for your prompt answer.
> > My objective is to capture the ambiance in a way not so directional as =
in the ms
> > setup. Do you know how it works differently in headphones and in the ro=
om with
> > two channel stereo left and right?
> > Walter Tilgner naturecordist in Germany, James Boyk pianist and sound e=
ngineer
> > in California and Chesky records are examples for blumlein uses, Do you=
know or
> > 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 micro=
s
> > outside, the problem is the wind in the two holes but you can put two l=
itle
> > circles inside the windscreen in the micros body, these circles don't n=
eed to
> > touch the windscreen and they act as a barrier to the wind.
> >
> > Best regards,
> > Jos=C3=A9
> >
> > --- 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-en=
d
> > > -- 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
> > >
> >
> >
> >
> >
> >
>
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