Main microphone techniques

Since my study time I intensely dealt with the subject mikrofonie techniques. In form of an extensive dissertation I presented in 2002 all standardised arrangements and drew the attention on account of intensive analyses to their advantages and disadvantages.

Based on it, I developed own techniques. Because at that time I already owned suitable microphones, I could supervise every theoretical step also practically. I have perfected some in the course of the years and have discovered next anew.

As a recording studio company we can offer to you ALL conceivable kinds of miking. With the following information I ask for understanding that no details are revealed.

Stereo microphone techniques

Modular dummy head for music production (2)

This construction combines the very well sounding KaeT with the spectacular room response of an dummy head. The headphone reproduction is perfect as expected. Even directions like on top / below and behind / in front can be realised! Besides, the proportions of head and auricle of the listener with the reproduction plays no role, thanks to some changes . The timbre remains during the loudspeaker reproduction neutral, thanks to a special arrangement of the microphone capsules.

Opposite to the general opinion over dummy heads it is easily possible to use additional microphones. The Mono reproduction is clearly better than with comparable techniques.

Well balanced point, Well balanced XY

Inspires from the LTE techonlogy I recognised an " invisible identity line" in the area of the equivalent Stereo microphone techniques, to which t (time) and l (level) keep the scales. LTE based on ORTF proportions. Because of the combination of the recording area and the capsel dependent treble focus, the stereophonic main axis sounds much muffled in contrast of the edge areas. Nevertheless, there is on my " invisible identity line " a point, where these tonal unbeauties are perfectly balanced. "Well balanced XY" works with the same prinziple but disclaims the time difference component.

Surround microphone techniques

Baffle for multicannel recordings (2) - "The yellyfish"

Practical experiences with my predecessor's model lead me to use only equivalent capsules (in this case omnis). Accordingly I corrected the original angles and the diameter of the sphere. The result was convincing! To avoid tonal discolorations on account of the pressure zone effect as best as possible, I applied also here the principle of the KaeT.

This construction you can also use for stereo recordings. Four different angles prove four different recording areas.


The frame

A projection of the "jellyfish" on the multicannel equivalent technologie.

Multicanal star

This advancement of the frame is variable thanks to extendable poles in his canal separation and room response. On account of his size one can equip him with tonally optimum Schoeps omnis.

With him can be realised alternatively or also at the same time (!) discreet 2.0 , 4.0 , 4.1 , 5.0 , 5.1 , 6.0 , 6.1 , 7.0 or 7.1 recordings according to the ITU norm.

Thanks to his tonal, technical and practical sublimity it is the draught horse in the matter of surround.

"The archived"

Extendet OSS disc

This in Jecklin / Schneider disc has less to fight with comb filter effects, due to its surface state and its construction way . Additional pressure zone spheres polished on a side cause a correction according to frequency, as well as a light focus for sounds comming from the side.

Double NOS

If one puts on top of each other 2 NOS pairs and adds a center canal, one receives this, even if not optimum 5canal- arrangement.

Quasi double NOS

A lot of well-balanced becomes it if one uses wide cardioid and makes a few corrections according to the changed directivity factor and the desired recording area.