Exploring Immersive Opera: Recording and Post-Production with Spatial Multi-Microphone System and Volumetric Microphone Array

Mao J, Oikonomidis M, de Francisco M, Woszczyk W, King R. Exploring Immersive Opera: Recording and Post-Production with Spatial Multi-Microphone System and Volumetric Microphone Array. In: Express Paper. Audio Engineering Society; 2024. Paper 292. Available from: https://aes.org/publications/elibrary-page/?id=22749

@inproceedings{Mao2024_22749,
  author = {Mao, Jiawen and Oikonomidis, Michail and de Francisco, Martha and Woszczyk, Wieslaw and King, Richard},
  title = {{Exploring Immersive Opera: Recording and Post-Production with Spatial Multi-Microphone System and Volumetric Microphone Array}},
  note = {Paper 292},
  year = {2024},
  month = sep,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=22749}
}

TY  - CPAPER
TI  - Exploring Immersive Opera: Recording and Post-Production with Spatial Multi-Microphone System and Volumetric Microphone Array
AU  - Mao, Jiawen
AU  - Oikonomidis, Michail
AU  - de Francisco, Martha
AU  - Woszczyk, Wieslaw
AU  - King, Richard
M1  - Paper 292
PY  - 2024
DA  - 2024/09/27
UR  - https://aes.org/publications/elibrary-page/?id=22749
PB  - Audio Engineering Society
LA  - en
AB  - Traditional opera recording techniques using large microphone systems are typically less flexible towards experimen-tal singer choreographies, which have the potential of being adapted to immersive and interactive representations such as Virtual Reality (VR) applications. The authors present an engineering report on implementing two micro-phone systems for recording an experimental opera production in a medium-sized theatre: a 7.0.4 hybrid array of Lindbergs 2L and the Bowles spatial arrays and a volumetric array consisting of three higher-order Ambisonic microphones in Left/Center/Right (LCR) formation. Details of both microphone setups are first described, followed by post-production techniques for multichannel loudspeaker playback and 6 degrees-of-freedom (6DoF) binaural rendering for VR experiences. Finally, the authors conclude with observations from informal listening critique ses-sions and discuss the technical challenges and aesthetic choices involved during the recording and post-production stages in the hope of inspiring future projects on a larger scale.
ER  -