Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music

Riaz M, Hernandez Martinez D, Roginska A. Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music. In: AES Convention 153. Audio Engineering Society; 2022. Paper 44. Available from: https://aes.org/publications/elibrary-page/?id=21927

@inproceedings{Riaz2022_21927,
  author = {Riaz, Maham and Hernandez Martinez, Diana and Roginska, Agnieszka},
  title = {{Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music}},
  booktitle = {AES Convention 153},
  note = {Paper 44},
  year = {2022},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=21927}
}

TY  - CPAPER
TI  - Immersive Soundfield Microphone Techniques: An Experimental Approach to Recording Music
AU  - Riaz, Maham
AU  - Hernandez Martinez, Diana
AU  - Roginska, Agnieszka
T2  - AES Convention 153
M1  - Paper 44
PY  - 2022
DA  - 2022/10/06
UR  - https://aes.org/publications/elibrary-page/?id=21927
PB  - Audio Engineering Society
LA  - en
AB  - Multi-capsule microphone techniques are used in recording the multi-dimensionality of musical performances. This paper evaluates two such techniques: one developed with the 6-capsule Double Mid-Side-Z (DMS-Z) array, and the other with the 32-capsule spherical array. The recordings underwent a similar process of decoding using the 3DCC method, in which each set of arrays was mapped onto 8 directional signals on the horizontal plane. From the performance aspect, the music ensemble consisted of four speakers, a subwoofer and two singers moving within the recording space. Two mixes were produced: Mix A with a combination of the 3DCC-decoded DMS-Z array, spot microphones and Hamasaki Square microphones; and Mix B with the 3DCC-decoded spherical array, spot microphones and Hamasaki Square microphones. These immersive mixes were then evaluated for various perceptual characteristics. Detailed subjective testing is yet to be conducted, but the results so far suggest some perceptual differences in the acoustics and perceived movement of the singers. This is ongoing research that aims to understand whether using a similar audio decoding process on two different multi-array microphone configurations can sufficiently eliminate the perceptual differences between them.
ER  -