Re: [Sursound] Looking for mic advice

[Len Moskowitz]

Hi Søren,

In my opinion, second-order ambisonic microphones perform better than 
first-order mics in every way.



I suggest that if you are able, to join Facebook's "Spatial Audio in 
VR/AR/MR" group. You can ask your project questions there of probably 
the most knowledgable immersive sound engineers on the planet.




We can recommend the Zoom F8 (and now the F8n) without reservation. For 
under $1000, it provides excellent, low noise pre-amps, very 
well-matched channels, and the ability to simply gang channels to ease 
the recording process. An alternative is the Sound Devices MixPre 10T.




You can see shipping prices on our ordering page. It's between $78 and 
$93 to Denmark. We don't have or collect VAT in the US, so you'd be 
responsible for paying VAT to your country's Customs agent.




Len Moskowitz (mosko...@core-sound.com)
Core Sound LLC
www.core-sound.com
Home of OctoMic and TetraMic





Re. Price: the list price is 1999 USD  for Octomic and you mention 
that it is just a little above Sennheiser Ambeo (which i can buy in 
Europe incl. tax AND shipping for 1920 USD at Thomann) Is your price 
ex. Tax and shipping?

I live in Denmark.

Med venlig hilsen/Best regards
Søren Bendixen
Composer & Producer
soerenbendixen.com


Den 12. aug. 2018 kl. 20.37 skrev Len Moskowitz :

When selecting an ambisonic microphone, I'll suggest a few things you 
should look and listen for.



All of the older Soundfield microphones (all other than the SPS200) 
used hardware to apply their calibrations. Each microphone was 
individually measured and a calibration correction was built into the 
hardware processor.



As the microphones aged, they fell out of calibration. To restore 
their performance, you had to send the microphone and the processor 
back to Soundfield for re-calibration. This was expensive, and 
ideally had to be done every two or three years. When Soundfield went 
through multiple changes of owndership, the knowledge to re-calibrate 
(and even to initially calibrate) was lost.




With the introduction of our TetraMic in late 2006, the hardware was 
no longer needed. We calibrated each and every TetraMic individually 
and provided a calibration file that was applied with an A- to 
B-format encoder plugin.



Soundfield later came out with their SPS200. Instead of providing 
individual calibration files for each SPS200, they initially matched 
all the capsules at the factory to the same standard, and then 
provided a single generic calibration correction that they expected 
would work for all SPS200s. It turns out that as the capsules on the 
SPS200s aged, a single generic calibration file couldn't possibly 
work for all of them. And they never offered a re-calibration 
service. Eventually, based on what we've measured, they lost the 
ability to even match the capsules correctly initially at the factory 
- eachone is very different than the next.




The result of using a single generic calibration correction file is 
that they can't correct for a lot of things. One of them is 
divergence at low frequencies. So what they did was to cut off the 
SPS200's low frequency response at around 90 Hz. The Sennheiser Ambeo 
takes the same approach, and it also has a 90 Hz low frequency 
cutoff. The new Rode mic (as of yet unreleased) seems to follow the 
same approach.




And of course, as the capsules age, even if they were well-matched 
from the factory (which SPS200s are not now, but Ambeos seem to be), 
after two or three years, they will not be.



Neither Soundfield (now owned by Rode) nor Sennheiser offers 
re-calibration services.




SPS200 and Ambeo are first-order tetrahedral array microphones.


TetraMic is Core Sound's first-order microphone. It is probably the 
best-selling first-order microphone in the world. Each one is 
individually calibrated. Re-calibration is recommended every two to 
three years. Low frequency response goes down to below 30 Hz. (We've 
calibrated them on special order down to 10 Hz.) It's calibration is 
tuned to sound like a DPA 4003.




First-order tetrahedral arrays are good for some things, but they're 
weak at others. If properly calibrated, its pickup patterns are 
better than pretty much any mono mic. But its listening sweet spot is 
only about the size of a human head. Outside of that you'll start to 
hear some loss of localization cues. Its localization cues are not 
particularly strong, which is why the VR industry tends to use them 
for ambience, but supplements them with spot mics for stronger 
localization cues.




Second-order ambisonic mics have a much, much larger sweet spot, and 
much, much stronger localization cues. They can synthesize 
second-order pickup patterns that have much more directional 
selectivity, rejecting much more sound from unwanted directions. That 
let's you get at least twice as far from the sound source as a mono 
mic without losing directional selectivity. (Mono mics are limited to 
first-order pickup patterns; they can't do 

Re: [Sursound] Jack, binaural and surround sound

[Bo-Erik Sandholm]

The software playing the Soundfile needs to be able to play and process
more than 2 channels, at a minimum four.

The soundcard only need 2 channels for the resulting binaural sound.

Best regards
Bo-Erik


On Sun, 12 Aug 2018 23:39 Bearcat M. Şándor, 
wrote:

> Since I listen through the headphone jack on my 7 channel sound card I have
> Jack and also configured for 2 channels.  When I'm listening to surround
> material via a binaural [like] processing should I have also set for 7
> channels?
>
> In other words, is the number of channels only relevant to the physical
> speaker outputs on my card, or does that effect the number of channels in
> the softwares processing to binaural?
>
> Thank you
>
> Bearcat M. Şándor
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Re: [Sursound] Looking for mic advice

[umashankar manthravadi]

Thank you Emanuele.

I now have a large diaphragm version mounted on the zoom, intended for nature 
recordings. Here is a sample, in B format. 
https://drive.google.com/open?id=17GtK69T_RsN0iYyYKuWOdZNjrweweUML



There is also an ambisonic studio microphone using 25 mm capsules.

You can find all these on  http://brahmamic.com/



We are currently working on an an all-digital MEMS array – eight capsule, 
second order.



umashankar



Sent from Mail for Windows 10




From: Sursound  on behalf of Emanuele Costantini 

Sent: Sunday, August 12, 2018 10:57:19 PM
To: sursound@music.vt.edu
Subject: Re: [Sursound] Looking for mic advice

In the meantime, while waiting for the next phantasmagoric mic to come
out we need to get out and record right?
How heavy and bulky, and how much post work you are planning to have/do?
Following my past experiences and actual needs I ended up using the
Brahma-in-Zoom mic, which is now always with me. Very happy with it.
Obviously is not the quietest mic in the world but is very decent and
gave me the chance to record things I couldn't record otherwise (and
also recorded very wuiet environments with it). I modded a Rycote blimp
to host it, so I have no wind fear, I just switch it on and record.
Battery life is impressive.
When then the new Rycote and the Reynolds will see the light, I will be
very happy to give them a test and hopefully buy one or the other, as I
need a bigger rig for other jobs.

:-)

Emanuele


On 10/08/2018 19:37, Søren Bendixen wrote:
> Hi
> I´m in the same situation, want to record nature (and other things) in 
> ambisonics. and I have no experience - and waiting for the new Røde(Rode) NT- 
> SF1 - I will be just below 1000 USD
> Røde took over Soundfield and then bought some knowledge about Ambisonics 
> equipment and this microphone would be the result ... In Denmark, for 
> example, Sennheiser ambeo costs around 1900 usd
> They announced the NT - SF1 almost 6 months ago - so..
>
> BR
> Søren Bendixen
>> Den 10. aug. 2018 kl. 20.22 skrev Drew Kirkland :
>>
>> Hi guys
>>
>> We have recently decided to record nature in ambisonic format with a
>> additional specific mono and stereo recordings added in at edit stage.
>>
>> I would be interested in current ambisonic mic choice, we don't have loads
>> of cash but want to get as transparent a sound field as possible.
>>
>> We have all had experience over the last 30 years or so of using standard
>> mics and have our favourites for particular situations but have never had
>> experience of usi g ambisonic mics and relevant field recorders.
>>
>> Advice welcome
>>
>> Drew
>>
>>
>>
>>
>>
>> Drew Kirkland
>> 1 campbleton cottage
>> Hunterston Estate
>> KA23 9QF
>>
>> 07876238608
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>>  - unsubscribe here, edit account or options, view archives and so on.
> Med venlig hilsen/Best regards
>
> Søren Bendixen
> Composer/Sound Designer/Producer
>
> Company: Audiotect
>
> New Exhibition sound design " På Djengis Khans stepper - Mongoliets Nomader",
> - Moesgaard Museum, 19 june 2018 - 7 april 2019
> - National Museum of Denmark: From june  2019
>
> Jyllandsposten: 5 (out of 6) Stars: “The illusion of a railroad journey is 
> underpinned by the sceneries that stand outside the windows. Sound and image 
> are in exemplary harmony, which is just as consistent
> completed when you attend the exhibition. the room is generally enhanced by a 
> rather fascinating sound design” (22 juni 2018)
>
>
>
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> Desc: not available
> URL: 
> 

Re: [Sursound] Looking for mic advice

[Stefan Schreiber]

Just a short comment during a trip:

It is IMO not true that the Octomic is “the only second-order mic  
being offered commercially”.


You have to add (at least) the Eigenmike and the ZM-1 microphones:

https://en.m.wikipedia.org/wiki/List_of_Ambisonic_hardware

Both microphones might have their own shortcomings - but will be a  
very good choice for at least some people. 


Said this I have recommended to test the Octomic elsewhere

Best regards

Stefan

P.S.: It is next to known that VR people would crave for a  
good-sounding 3rd order (main) mike.


Could this be a commercial opportunity?

- - - - - - - - 

Citando Len Moskowitz :

When selecting an ambisonic microphone, I'll suggest a few things  
you should look and listen for.






 All of the older Soundfield microphones (all other than the SPS200)  
used hardware to apply their calibrations. Each microphone was  
individually measured and a calibration correction was built into  
the hardware processor.






 As the microphones aged, they fell out of calibration. To restore  
their performance, you had to send the microphone and the processor  
back to Soundfield for re-calibration. This was expensive, and  
ideally had to be done every two or three years. When Soundfield  
went through multiple changes of owndership, the knowledge to  
re-calibrate (and even to initially calibrate) was lost.








 With the introduction of our TetraMic in late 2006, the hardware  
was no longer needed. We calibrated each and every TetraMic  
individually and provided a calibration file that was applied with  
an A- to B-format encoder plugin.






 Soundfield later came out with their SPS200. Instead of providing  
individual calibration files for each SPS200, they initially matched  
all the capsules at the factory to the same standard, and then  
provided a single generic calibration correction that they expected  
would work for all SPS200s. It turns out that as the capsules on the  
SPS200s aged, a single generic calibration file couldn't possibly  
work for all of them. And they never offered a re-calibration  
service. Eventually, based on what we've measured, they lost the  
ability to even match the capsules correctly initially at the  
factory - eachone is very different than the next.








 The result of using a single generic calibration correction file is  
that they can't correct for a lot of things. One of them is  
divergence at low frequencies. So what they did was to cut off the  
SPS200's low frequency response at around 90 Hz. The Sennheiser  
Ambeo takes the same approach, and it also has a 90 Hz low frequency  
cutoff. The new Rode mic (as of yet unreleased) seems to follow the  
same approach.








 And of course, as the capsules age, even if they were well-matched  
from the factory (which SPS200s are not now, but Ambeos seem to be),  
after two or three years, they will not be.






 Neither Soundfield (now owned by Rode) nor Sennheiser offers  
re-calibration services.








 SPS200 and Ambeo are first-order tetrahedral array microphones.





 TetraMic is Core Sound's first-order microphone. It is probably the  
best-selling first-order microphone in the world. Each one is  
individually calibrated. Re-calibration is recommended every two to  
three years. Low frequency response goes down to below 30 Hz. (We've  
calibrated them on special order down to 10 Hz.) It's calibration is  
tuned to sound like a DPA 4003.








 First-order tetrahedral arrays are good for some things, but  
they're weak at others. If properly calibrated, its pickup patterns  
are better than pretty much any mono mic. But its listening sweet  
spot is only about the size of a human head. Outside of that you'll  
start to hear some loss of localization cues. Its localization cues  
are not particularly strong, which is why the VR industry tends to  
use them for ambience, but supplements them with spot mics for  
stronger localization cues.








 Second-order ambisonic mics have a much, much larger sweet spot,  
and much, much stronger localization cues. They can synthesize  
second-order pickup patterns that have much more directional  
selectivity, rejecting much more sound from unwanted directions.  
That let's you get at least twice as far from the sound source as a  
mono mic without losing directional selectivity. (Mono mics are  
limited to first-order pickup patterns; they can't do second-order  
patterns.)








 Our OctoMic is the only second-order mic being offered  
commercially. It's priced only a little higher than an Ambeo. We  
suggest that you have a look and a listen.












 Len Moskowitz (mosko...@core-sound.com)

 Core Sound LLC

 www.core-sound.com[1]

 Home of OctoMic and TetraMic




Ligações:
-
[1] http://www.core-sound.com
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[Sursound] Jack, binaural and surround sound

[Bearcat M . Şándor]

Since I listen through the headphone jack on my 7 channel sound card I have
Jack and also configured for 2 channels.  When I'm listening to surround
material via a binaural [like] processing should I have also set for 7
channels?

In other words, is the number of channels only relevant to the physical
speaker outputs on my card, or does that effect the number of channels in
the softwares processing to binaural?

Thank you

Bearcat M. Şándor
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Re: [Sursound] Looking for mic advice

[Søren Bendixen]

Hi Len
This is very interesting information.
I’ve have just ordered a mixpre 6 so I’m ready for 1’ st order ambisonics
But my aim is using ambisonics in exhibition set ups so people can walk around 
in spaces/full circles ca. 10 meters in diameter 

I have no experience with ambisonics and not at all in “live” settings but 
regarding your info it seems like only a 2’ end order ambisonics recording will 
be usefull?
If usefull at all..?

If usefull; Can you recommend Zoom F8n (or “just” F8) as a recorder with 
Octomic?
Or any other 8 ch recorder around  the same price range? 
The main point is low noise pre’s -  no fancy stuff.

Re. Price: the list price is 1999 USD  for Octomic and you mention that it is 
just a little above Sennheiser Ambeo (which i can buy in Europe incl. tax AND 
shipping for 1920 USD at Thomann) Is your price ex. Tax and shipping?
I live in Denmark.

Med venlig hilsen/Best regards
Søren Bendixen
Composer & Producer
soerenbendixen.com

> Den 12. aug. 2018 kl. 20.37 skrev Len Moskowitz :
> 
> When selecting an ambisonic microphone, I'll suggest a few things you should 
> look and listen for.
> 
> 
> All of the older Soundfield microphones (all other than the SPS200) used 
> hardware to apply their calibrations. Each microphone was individually 
> measured and a calibration correction was built into the hardware processor.
> 
> 
> As the microphones aged, they fell out of calibration. To restore their 
> performance, you had to send the microphone and the processor back to 
> Soundfield for re-calibration. This was expensive, and ideally had to be done 
> every two or three years. When Soundfield went through multiple changes of 
> owndership, the knowledge to re-calibrate (and even to initially calibrate) 
> was lost.
> 
> 
> 
> With the introduction of our TetraMic in late 2006, the hardware was no 
> longer needed. We calibrated each and every TetraMic individually and 
> provided a calibration file that was applied with an A- to B-format encoder 
> plugin.
> 
> 
> Soundfield later came out with their SPS200. Instead of providing individual 
> calibration files for each SPS200, they initially matched all the capsules at 
> the factory to the same standard, and then provided a single generic 
> calibration correction that they expected would work for all SPS200s. It 
> turns out that as the capsules on the SPS200s aged, a single generic 
> calibration file couldn't possibly work for all of them. And they never 
> offered a re-calibration service. Eventually, based on what we've measured, 
> they lost the ability to even match the capsules correctly initially at the 
> factory - eachone is very different than the next.
> 
> 
> 
> The result of using a single generic calibration correction file is that they 
> can't correct for a lot of things. One of them is divergence at low 
> frequencies. So what they did was to cut off the SPS200's low frequency 
> response at around 90 Hz. The Sennheiser Ambeo takes the same approach, and 
> it also has a 90 Hz low frequency cutoff. The new Rode mic (as of yet 
> unreleased) seems to follow the same approach.
> 
> 
> 
> And of course, as the capsules age, even if they were well-matched from the 
> factory (which SPS200s are not now, but Ambeos seem to be), after two or 
> three years, they will not be.
> 
> 
> Neither Soundfield (now owned by Rode) nor Sennheiser offers re-calibration 
> services.
> 
> 
> 
> SPS200 and Ambeo are first-order tetrahedral array microphones.
> 
> 
> TetraMic is Core Sound's first-order microphone. It is probably the 
> best-selling first-order microphone in the world. Each one is individually 
> calibrated. Re-calibration is recommended every two to three years. Low 
> frequency response goes down to below 30 Hz. (We've calibrated them on 
> special order down to 10 Hz.) It's calibration is tuned to sound like a DPA 
> 4003.
> 
> 
> 
> First-order tetrahedral arrays are good for some things, but they're weak at 
> others. If properly calibrated, its pickup patterns are better than pretty 
> much any mono mic. But its listening sweet spot is only about the size of a 
> human head. Outside of that you'll start to hear some loss of localization 
> cues. Its localization cues are not particularly strong, which is why the VR 
> industry tends to use them for ambience, but supplements them with spot mics 
> for stronger localization cues.
> 
> 
> 
> Second-order ambisonic mics have a much, much larger sweet spot, and much, 
> much stronger localization cues. They can synthesize second-order pickup 
> patterns that have much more directional selectivity, rejecting much more 
> sound from unwanted directions. That let's you get at least twice as far from 
> the sound source as a mono mic without losing directional selectivity. (Mono 
> mics are limited to first-order pickup patterns; they can't do second-order 
> patterns.)
> 
> 
> 
> Our OctoMic is the only second-order mic being offered commercially. It's 
> priced only a lit

Re: [Sursound] Looking for mic advice

[Len Moskowitz]

When selecting an ambisonic microphone, I'll suggest a few things you 
should look and listen for.



All of the older Soundfield microphones (all other than the SPS200) used 
hardware to apply their calibrations. Each microphone was individually 
measured and a calibration correction was built into the hardware 
processor.



As the microphones aged, they fell out of calibration. To restore their 
performance, you had to send the microphone and the processor back to 
Soundfield for re-calibration. This was expensive, and ideally had to be 
done every two or three years. When Soundfield went through multiple 
changes of owndership, the knowledge to re-calibrate (and even to 
initially calibrate) was lost.




With the introduction of our TetraMic in late 2006, the hardware was no 
longer needed. We calibrated each and every TetraMic individually and 
provided a calibration file that was applied with an A- to B-format 
encoder plugin.



Soundfield later came out with their SPS200. Instead of providing 
individual calibration files for each SPS200, they initially matched all 
the capsules at the factory to the same standard, and then provided a 
single generic calibration correction that they expected would work for 
all SPS200s. It turns out that as the capsules on the SPS200s aged, a 
single generic calibration file couldn't possibly work for all of them. 
And they never offered a re-calibration service. Eventually, based on 
what we've measured, they lost the ability to even match the capsules 
correctly initially at the factory - eachone is very different than the 
next.




The result of using a single generic calibration correction file is that 
they can't correct for a lot of things. One of them is divergence at low 
frequencies. So what they did was to cut off the SPS200's low frequency 
response at around 90 Hz. The Sennheiser Ambeo takes the same approach, 
and it also has a 90 Hz low frequency cutoff. The new Rode mic (as of 
yet unreleased) seems to follow the same approach.




And of course, as the capsules age, even if they were well-matched from 
the factory (which SPS200s are not now, but Ambeos seem to be), after 
two or three years, they will not be.



Neither Soundfield (now owned by Rode) nor Sennheiser offers 
re-calibration services.




SPS200 and Ambeo are first-order tetrahedral array microphones.


TetraMic is Core Sound's first-order microphone. It is probably the 
best-selling first-order microphone in the world. Each one is 
individually calibrated. Re-calibration is recommended every two to 
three years. Low frequency response goes down to below 30 Hz. (We've 
calibrated them on special order down to 10 Hz.) It's calibration is 
tuned to sound like a DPA 4003.




First-order tetrahedral arrays are good for some things, but they're 
weak at others. If properly calibrated, its pickup patterns are better 
than pretty much any mono mic. But its listening sweet spot is only 
about the size of a human head. Outside of that you'll start to hear 
some loss of localization cues. Its localization cues are not 
particularly strong, which is why the VR industry tends to use them for 
ambience, but supplements them with spot mics for stronger localization 
cues.




Second-order ambisonic mics have a much, much larger sweet spot, and 
much, much stronger localization cues. They can synthesize second-order 
pickup patterns that have much more directional selectivity, rejecting 
much more sound from unwanted directions. That let's you get at least 
twice as far from the sound source as a mono mic without losing 
directional selectivity. (Mono mics are limited to first-order pickup 
patterns; they can't do second-order patterns.)




Our OctoMic is the only second-order mic being offered commercially. 
It's priced only a little higher than an Ambeo. We suggest that you have 
a look and a listen.






Len Moskowitz (mosko...@core-sound.com)
Core Sound LLC
www.core-sound.com
Home of OctoMic and TetraMic
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Re: [Sursound] Looking for mic advice

[Emanuele Costantini]

In the meantime, while waiting for the next phantasmagoric mic to come 
out we need to get out and record right?

How heavy and bulky, and how much post work you are planning to have/do?
Following my past experiences and actual needs I ended up using the 
Brahma-in-Zoom mic, which is now always with me. Very happy with it. 
Obviously is not the quietest mic in the world but is very decent and 
gave me the chance to record things I couldn't record otherwise (and 
also recorded very wuiet environments with it). I modded a Rycote blimp 
to host it, so I have no wind fear, I just switch it on and record. 
Battery life is impressive.
When then the new Rycote and the Reynolds will see the light, I will be 
very happy to give them a test and hopefully buy one or the other, as I 
need a bigger rig for other jobs.


:-)

Emanuele


On 10/08/2018 19:37, Søren Bendixen wrote:

Hi
I´m in the same situation, want to record nature (and other things) in 
ambisonics. and I have no experience - and waiting for the new Røde(Rode) NT- 
SF1 - I will be just below 1000 USD
Røde took over Soundfield and then bought some knowledge about Ambisonics 
equipment and this microphone would be the result ... In Denmark, for example, 
Sennheiser ambeo costs around 1900 usd
They announced the NT - SF1 almost 6 months ago - so..

BR
Søren Bendixen

Den 10. aug. 2018 kl. 20.22 skrev Drew Kirkland :

Hi guys

We have recently decided to record nature in ambisonic format with a
additional specific mono and stereo recordings added in at edit stage.

I would be interested in current ambisonic mic choice, we don't have loads
of cash but want to get as transparent a sound field as possible.

We have all had experience over the last 30 years or so of using standard
mics and have our favourites for particular situations but have never had
experience of usi g ambisonic mics and relevant field recorders.

Advice welcome

Drew





Drew Kirkland
1 campbleton cottage
Hunterston Estate
KA23 9QF

07876238608
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Med venlig hilsen/Best regards

Søren Bendixen
Composer/Sound Designer/Producer

Company: Audiotect

New Exhibition sound design " På Djengis Khans stepper - Mongoliets Nomader",
- Moesgaard Museum, 19 june 2018 - 7 april 2019
- National Museum of Denmark: From june  2019

Jyllandsposten: 5 (out of 6) Stars: “The illusion of a railroad journey is 
underpinned by the sceneries that stand outside the windows. Sound and image 
are in exemplary harmony, which is just as consistent
completed when you attend the exhibition. the room is generally enhanced by a 
rather fascinating sound design” (22 juni 2018)



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Re: [Sursound] Looking for mic advice

[richard ford]

Are there any recordings available made using these 14mm electrets, and is a 
complete tree setup commercially available?
R

Sent from Yahoo Mail on Android 
 
  On Sun, 12 Aug 2018 at 11:21, Chris Woolf wrote:   
On 11/08/2018 18:16, jack reynolds wrote:
> I use 14mm electrets, so you can still get them pretty close together. They
> naturally have a lower noise floor and wide dynamic range.

Thanks for the clarification - I'd only seen your large diaphragm mics. 
14mm capsules sounds fine.

Chris Woolf
>
> Jack
>
> On 11 August 2018 at 14:42, Chris Woolf  wrote:
>
>> On 11/08/2018 10:59, Axel Drioli wrote:
>>
>>> ...  I use
>>> a prototype made by Reynolds Microphones. ... This mic has much lower
>>> self-noise than any other ambi mic you find around.
>>>
>>> But is that done using large diaphragm capsules? With the inevitable
>> consequences in terms of coincidence?
>>
>> Chris Woolf
>>
>>
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Re: [Sursound] Looking for mic advice

[Chris Woolf]

On 11/08/2018 18:16, jack reynolds wrote:

I use 14mm electrets, so you can still get them pretty close together. They
naturally have a lower noise floor and wide dynamic range.


Thanks for the clarification - I'd only seen your large diaphragm mics. 
14mm capsules sounds fine.


Chris Woolf


Jack

On 11 August 2018 at 14:42, Chris Woolf  wrote:


On 11/08/2018 10:59, Axel Drioli wrote:


...  I use
a prototype made by Reynolds Microphones. ... This mic has much lower
self-noise than any other ambi mic you find around.

But is that done using large diaphragm capsules? With the inevitable

consequences in terms of coincidence?

Chris Woolf


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Re: [Sursound] Looking for mic advice

[Drew Kirkland]

Thanks every one that's brilliant I will do a bit of listening and reading
and let you know what we decide

Drew







Drew Kirkland
1 campbleton cottage
Hunterston Estate
KA23 9QF

07876238608

On Sat, 11 Aug 2018, 20:31 Martin Leese, 
wrote:

> Drew Kirkland wrote:
> > Hi guys
> >
> > We have recently decided to record nature in ambisonic format with a
> > additional specific mono and stereo recordings added in at edit stage.
> >
> > I would be interested in current ambisonic mic choice, we don't have
> loads
> > of cash but want to get as transparent a sound field as possible.
>
> There is a list of mics on Wikipedia at:
> https://en.wikipedia.org/wiki/List_of_Ambisonic_hardware#Microphone_Arrays
>
> If the list is incomplete then will people please
> add to it.
>
> Regards,
> Martin
> --
> Martin J Leese
> E-mail: martin.leese  stanfordalumni.org
> Web: http://members.tripod.com/martin_leese/
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