[David Grant]

60 second clip, 2 Tracks.

Room Pair: Josephson C-42 ORTF

http://www.davegrant.ca/overtime.zip [1.4MB]

Again I'll hold my own criticisms until I hear yours.

All feedback welcome and appreciated.

Thanks,

David

[Peter Larsen[_2_]]

David Grant wrote:

60 second clip, 2 Tracks.

Room Pair: Josephson C-42 ORTF

http://www.davegrant.ca/overtime.zip [1.4MB]

Again I'll hold my own criticisms until I hear yours.

All feedback welcome and appreciated.

Hole in the middle, I wrote about this very issue yesterday, but overall
very nice.

Thanks,

Kind regards

Peter Larsen


David

[David Grant]

Hole in the middle, I wrote about this very issue yesterday, but overall
very nice.

You're referring to the following?

[David Grant]

Hole in the middle, I wrote about this very issue yesterday, but overall
very nice.


You're referring to the following?

The general principle is that you regulate the width of the image from an
ortf, x-y or ab pair by adjusting the amount of de-correlation, ie. by
altering the distance between capsules in a pair or the angling of the
capsules or both. Read the AES Paper "The Stereophonic Zoom". The ORTF
angle
of 110 degrees pre-supposes that your main mic stand is further from the
ensemble than what is possible in most real world concert halls with an
audience present, at least in case of having the main pair on a stand.


I'm going to order a copy of that, but in the meantime...

I've been using 110 degrees religiously. Do I understand correctly that as
you move the main pair towards the ensemble you typically reduce this angle
to maintain constant stereo width?

I'm skipping your questions from the rest of that post because I think they
were answered in later threads.

Thanks,

David

[Scott Dorsey]

David Grant wrote:

I've been using 110 degrees religiously. Do I understand correctly that as
you move the main pair towards the ensemble you typically reduce this angle
to maintain constant stereo width?

Yes, and you may want to adjust spacing too if you are working in the
near-field. You HAVE to do this by ear, and you HAVE to do it with
speakers and not headphones.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[David Grant]

"Scott Dorsey" wrote in message
...
David Grant wrote:

I've been using 110 degrees religiously. Do I understand correctly that as
you move the main pair towards the ensemble you typically reduce this
angle
to maintain constant stereo width?

Yes, and you may want to adjust spacing too if you are working in the
near-field. You HAVE to do this by ear, and you HAVE to do it with
speakers and not headphones.
--scott


Thanks Scott,

However, the AES paper Peter pointed me to seems to suggest this is more of
a measured thing. It suggests measuring the required angle and then
determining the mic spacing and mic angle based on the curves provided.

Any thoughts?

David

[Scott Dorsey]

David Grant wrote:

However, the AES paper Peter pointed me to seems to suggest this is more of
a measured thing. It suggests measuring the required angle and then
determining the mic spacing and mic angle based on the curves provided.

Any thoughts?

If you knew everything about the room and the ensemble layout, you could
do this. You'd also need really accurate information about the microphone
pattern (which unfortunately is not constant with frequency). Also you'd
have to compensate for taste as well.

You could do it mathematically, but the number of variables is great, and
it only takes a couple minutes to set it by ear.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Peter Larsen[_2_]]

David Grant wrote:

I've been using 110 degrees religiously.

I did get a lot of flak a couple of years ago when trying to get it
understood that ORTF is a special case of X-Y, a lot of people wants X-Y to
be coincident it seems.

Do I understand correctly
that as you move the main pair towards the ensemble you typically
reduce this angle to maintain constant stereo width?

Yes. Think correlation vs. decorrelation as in 5+1 recordings. The more you
open the angle the more de-correlated it gets, the shorter the distance
between capsules the more correlated it gets. Also the shorter the distance
to the ensemble the more de-correlated the ensmble image.

Scott strongly recommends loudspeaker listening for the adjustment of this,
Sennehiser HD 25's work fine for me and has to for most of the recordings I
do, noting his point - it is not the first time he makes it - I have added a
pair of take along loudspeakers for use when possible. In both cases listen
for smoothness of stereo perspective and solidity of center image.

David

Kind regards

Peter Larsen