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Recording for Surround Sound
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What is the end goal? - stereophonic: concerned only with horizontal reproduction 5.1, 7.1, 10.2, most cinema sound - immersive: concerned with complete reproduction of soundfield (including height) Binaural, VR, gaming, 360-camera, Ambisonic
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Recording philosophy? “Minimalist”
- seeks to capture source and soundfield with a single recording array or microphone - generally based on stereophonic technique “Mains + ambience” - main stereo array for source; separate technique to capture ambience in surround “Multi-mic + ambience” - multi-track capture of source + surround ambience
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“Minimalist” techniques
Same categories as stereo techniques: - coincident: double Mid/Side, Ambisonic - near coincident: Williams Arrays, INA5, & others - spaced: Decca-tree variants: Fukada tree & others Other: - Holophone - Binaural
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Williams MMAD
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OCT Uses a near coincident trio of mic's for the front
Recommends separate rear ambience array
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Double MS Cardiods facing forward and back, sharing a bidirectional side. Decoded for 4 or 5 speakers
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Holophone Proprietary egg-shaped surround microphones
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Ambisonics In theory: 4 coincident microphones: an omni (W), and three bidirectionals X: side, Y: front to back, Z: vertical Allows mid/side pairs in any direction Mono, stereo, and surround compatible Can be rotated, “zoomed”, and flipped Reality: uses a tetrahedral array of 4 cardioid capsules
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Binaural
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Surround ambience arrays
Sources can be captured in multitrack and special arrays can capture the ambience for surround mixing.
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IRT Cross Four cardioids at 90 degrees
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Hamasaki Square Four bidirectionals, 6 feet apart, aimed 90 degrees off-axis to source for maximum rejection of direct sound
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