Main microphone techniques

Since my study time, I intensely employed with the subject of microphone techniques. In the course of an extensive dissertation, I presented in 2002 all standardised main microphone techniques and pointed out their specific advantages and disadvantages by analyting them intensively.

Based on them, I developed my own techniques. Because at that time I already owned suitable microphones, I could supervise every theoretical step practically. I improved some of them over the years and discovered new ones.

As a recording studio, I can use for your project ALL kinds of miking. With the following information I ask you 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 a 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. The timbre remains during the loudspeaker reproduction neutral.

Opposed to the general opinion, with this dummy heads it is possible to use additional microphones. The Mono reproduction is even better than with other comparable techniques.

[Here] you can find a lot of hearing examples. 2.0 sound examples with the comment "without spot microphones" where recordet without further microphones.

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 where t (time) and l (level) keep the scales. LTE bases on ORTF proportions. Because of the combination of the recording area and the capsule depending treble focus, the stereophonic main axis sounds much more muffled than the marginal areas. Nevertheless, there is on my invisible identity line a point where all these tonal unbeauties are perfectly balanced out. "Well balanced XY" works with the same prinziple but disclaims the time difference component.

Surround microphone techniques

Universal Multi- Format Microphone Array for Natural Multiphony (UMA) - Kortschak- Surround

The base of the invention is found in the multiformat- microphone technique: Baffle for Multichannel Recordings (2) - The Jellyfish (see below), which I presented in 2002 at the SAE Vienna. In 2005, I assignet this technique to the multichannel equivalent technology: Multi Star (1) and between 2009 and 2010, its successor got further improvements. In the context of a my Bachelor Honors work at the SAE Vienna / Middlesex University London the Surround recording methods INA, OCT, Decca Tree, Fukada Tree, WCSA, MMAD and IRT Cross where compared with this invention. Fortunately, the following three hypotheses could be reviewed in its accuracy:

H1: Due to the geometric design of the invention, it is possible to create subjectively and objectively consistent recordings which are suitable for all reproduction formats described in the ITU-R BS 775-2 standard. The degree of change only corresponds to the ratio of the proportional change of the different, compared playback formats.

H2: The invention is the most natural reproducting multichannel microphone array.

H3: Recordings which were made with this multichannel microphone array sound aesthetically better than those which were performed with other multichannel microphone arrays on the same conditions.

With this recording technique you can use all capsule directivities between omni and cardioid. Additionaly, all Surround- Formats described in the ITU-R BS 775-2 (and even more) can be used at the same time!

Hearing examples you will find here.

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

The root version of Kortschak- Surround (s.a.). For piano recordings, this technology is still a worth recommendation.