Mike,
The Audix om2 Dinamics, Malow binaural, and the plain is the perfect pictur=
e. Very instructive.Most realistic of the two.Blumlein is difuse binaural i=
s realistic don't you think?
Thank you,
Jos=E9 Freitas
--- In "Mike Rooke" <> wrote:
>
> 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 dev=
ice and floating tripod.
>
> Ive also tried them in a Faulkner array. Low sensitivity of the ribbons p=
rompted 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 ma=
de ears.
> one of my "had to try it" projects...
>
> http://soundcloud.com/urlme/melow-binaural
>
> -Mike.
>
>
>
>
>
> --- In "freitojos" <josefreitas81@> wro=
te:
> >
> >
> > Thank you Eric,
> > Another two that record in blumlein. I have find also Water Lily.I am g=
oing to listen these recordings and after that decide.
> > Most part of the time when I am reconding ambiences there is no subjec=
t in front of the mics, the birds; the sounds came from all the 360=BA circ=
le, 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 An=
d 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 blumle=
in setup
> > >
> > > =C2=A0
> > >
> > > Thank you Aaron for your prompt answer.
> > > My objective is to capture the ambiance in a way not so directional a=
s in the 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=
engineer
> > > in California and Chesky records are examples for blumlein uses, Do y=
ou 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 on=
e
> > > windscreen with half the micros outside, the rear part of the two mic=
ros
> > > 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 to
> > > touch the windscreen and they act as a barrier to the wind.
> > >
> > > Best regards,
> > > Jos=C3=A9
> > >
> > > --- In Aaron Ximm <aaron.ximm@> wro=
te:
> > > >
> > > > Hi Jos=C3=A9,
> > > >
> > > > I was (and am) very interested in the Blumlein technique; I love th=
e
> > > > image it provides... BUT... have not been able to apply it widely f=
or
> > > > 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 t=
he
> > > > 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 sourc=
es.
> > > >
> > > > In the studio Blumlein is useful because you can control what is
> > > > presented to the rear of the microphones by making sure that the mi=
cs
> > > > have subjects within a certain range of the front -- but in the fie=
ld,
> > > > 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 fron=
t
> > > > 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
> > > >
> > >
> > >
> > >
> > >
> > >
> >
>
|