Tetrahedral Microphone: A Versatile "Spot" and Ambience Receiver for 3D Mixing and Sound Design

Woszczyk, Wieslaw, Nulsen J, Hahn E, Degtyareva K, Castillo JNH. Tetrahedral Microphone: A Versatile "Spot" and Ambience Receiver for 3D Mixing and Sound Design. In: AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science. Audio Engineering Society; 2018. Paper EB1-2. Available from: https://aes.org/publications/elibrary-page/?id=19642

@inproceedings{Woszczyk2018_19642,
  author = {{Woszczyk} and {Wieslaw} and Nulsen, Jennifer and Hahn, Ephraim and Degtyareva, Kseniya and Castillo, John, Nagata, Haruka},
  title = {{Tetrahedral Microphone: A Versatile "Spot" and Ambience Receiver for 3D Mixing and Sound Design}},
  booktitle = {AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science},
  note = {Paper EB1-2},
  year = {2018},
  month = jul,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=19642}
}

TY  - CPAPER
TI  - Tetrahedral Microphone: A Versatile "Spot" and Ambience Receiver for 3D Mixing and Sound Design
AU  - Woszczyk
AU  - Wieslaw
AU  - Nulsen, Jennifer
AU  - Hahn, Ephraim
AU  - Degtyareva, Kseniya
AU  - Castillo, John, Nagata, Haruka
T2  - AES Conference: 2018 AES International Conference on Spatial Reproduction - Aesthetics and Science
M1  - Paper EB1-2
PY  - 2018
DA  - 2018/07/06
UR  - https://aes.org/publications/elibrary-page/?id=19642
PB  - Audio Engineering Society
LA  - en
AB  - With the introduction of affordably priced high quality 3D microphones, such as Sennheiser’s Ambeo VR, it becomes interesting to consider whether to use such 3D receivers as support microphones and as dedicated extractors of ambience. This means capturing a sound field with a specific local balance, rather than the overall balance, and treating it as a part of a mix. The precise tetrahedral orientation of the four-cardioid capsules in such microphone gives it a spatial spreading advantage unavailable in a single-capsule spot microphone. The question is, what should be the best practice of integrating such 3D microphone into the ecosystem of surround sound with height, which is primarily based on single capsule transducers. The authors present the results of several recording experiments and offer recommendations for best practices in 3D mixing using tetrahedral microphones.
ER  -