Thanks all so far – very generous and helpful.
On 18/09/2017, 18:21, "Sursound on behalf of Hyunkook Lee"
<sursound-boun...@music.vt.edu on behalf of h....@hud.ac.uk> wrote:
Hello,
The attached papers of mine may be relevant to your question. PCMA, a
surround mic technique I proposed and evaluated in the papers does not use
multiple ambisonic microphones, but uses 5 pairs of coincident microphones
arranged in a spaced array. The purpose is to control perceived front-back
perspective (zoom in/out) creating a virtual microphone with a different polar
pattern and direction at each pickup point. (see Figure 3 in the 2011 paper).
The same technique can be used for surround recording with height (the
secondary mic in each pair captures more ambience than direct sound and is
therefore routed to a height channel for spatial impression).
Hope this is useful.
Hyunkook
=========================================
Dr Hyunkook Lee, BMus(Tonmeister), PhD, MAES, FHEA
Senior Lecturer in Music Technology
Leader of the Applied Psychoacoustics Laboratory (APL)
http://www.hud.ac.uk/apl
http://www.hyunkooklee.com
Phone: +44 (0)1484 471893
Email: h....@hud.ac.uk
Office: CE 2 /14a
School of Computing and Engineering
University of Huddersfield
Huddersfield
HD1 3DH
United Kingdom
________________________________________
From: Sursound [sursound-boun...@music.vt.edu] on behalf of len moskowitz
[lenmoskow...@optonline.net]
Sent: 18 September 2017 18:05
To: sursound@music.vt.edu
Subject: Re: [Sursound] Multiple ambisonic microphone array?
Matthew Barnard writes:
> Has anyone had any experience of utilising multiple ambisonic
> microphones in a spaced array for a recording?
We've recommended using multiple TetraMics in spaced arrays to our
customers many times, and we mention it on our web site.
Perhaps the simplest is an ORTF array, decoding two TetraMics physically
spaced 17 cm apart, and each decoded to cardioids angled to an included
angle between them of 110 degrees.
There's no reason this technique can't be used with other spaced array
configurations.
Then there's the much more complex possibility of using many TetraMics,
uniformly distributed around a space, each dynamically tracking sound
sources, and interpolating (handing off) between them as sound sources
move around in the space. We know this may be possible.
Len Moskowitz (mosko...@core-sound.com)
Core Sound LLC
www.core-sound.com
Home of TetraMic
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