Has anyone ever used a spherical quad microphone array for field recording?=
=0D
=0D
The layout I'm thinking of would look somewhat like a hybrid between an IR=
T Cross (four cardioids, pointing outward, placed in a square roughly 0.25m=
on a side) and a Schoeps KFM 6 sphere microphone (a vaguely head-sized sph=
ere with two omni capsules flush-mounted 180 degrees apart). Basically take=
the KFM 6 sphere and add two more microphones so they're spaced evenly eve=
ry 90 degrees around the periphery.=0D
=0D
=0D
My main interest in this isn't so much doing surround recording (though th=
at should be possible), it's that I've had some otherwise excellent drop-an=
d-recover sessions marred somewhat because an interesting sound field winds=
up being biased to one side because of how the wildlife settles down aroun=
d the gear. My hope with the spherical microphone is that the stereo mix co=
uld be "steered" through careful summing and differencing after the fact to=
re-orient the sound field for the listener.=0D
=0D
=0D
Right now my go-to microphone array is an EM-172 SASS. I've got eight more=
capsules in matched sets of four, ready to be built into... something. I w=
as originally planning to build them into a pair of foam SASS arrays, but I=
'm more than happy building four of them into a spherical microphone like t=
he one I described.=0D
=0D
=0D
But in all the searching I've done, I haven't found any examples of anyone=
trying this. It seems too obvious to have been overlooked, so I'm guessing=
there's some technical fly in the ointment I'm missing. Any ideas? If this=
idea has already been tried and abandoned, I'd just as soon not go through=
the hassle. If it hasn't been tried, full steam ahead!=0D
=0D
=0D
Thanks,=0D
=0D
=0D
Tom=0D
"While a picture is worth a thousand words, a
sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause.
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