Stereo Boundary Microphone Techniques for Live Staged Performances - Development of a New Mid/Side Boundary Stage Microphone

Streicher RD. Stereo Boundary Microphone Techniques for Live Staged Performances - Development of a New Mid/Side Boundary Stage Microphone. In: AES Conference: 21st International Conference: Architectural Acoustics and Sound Reinforcement. Audio Engineering Society; 2002. Paper 000119. Available from: https://aes.org/publications/elibrary-page/?id=11186

@inproceedings{Streicher2002_11186,
  author = {Streicher, Ronald David},
  title = {{Stereo Boundary Microphone Techniques for Live Staged Performances - Development of a New Mid/Side Boundary Stage Microphone}},
  booktitle = {AES Conference: 21st International Conference: Architectural Acoustics and Sound Reinforcement},
  note = {Paper 000119},
  year = {2002},
  month = jun,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=11186}
}

TY  - CPAPER
TI  - Stereo Boundary Microphone Techniques for Live Staged Performances - Development of a New Mid/Side Boundary Stage Microphone
AU  - Streicher, Ronald David
T2  - AES Conference: 21st International Conference: Architectural Acoustics and Sound Reinforcement
M1  - Paper 000119
PY  - 2002
DA  - 2002/06/06
UR  - https://aes.org/publications/elibrary-page/?id=11186
PB  - Audio Engineering Society
LA  - en
AB  - Given the inherent restrictions on microphone placement when producing stereophonic recordings and/or sound reinforcement of live staged performances, it often is difficult to achieve an accurate aural image and sense of movement across the stage. For many years, the use of spaced floor-mounted microphones has been the norm for these performances, resulting however in acoustic interference anomalies that compromise the quality of these pickups. This presentation will demonstrate that by employing conventional coincident microphone techniques but mounted directly on the stage floor - and in particular a central Mid/Side microphone pair configured as a "boundary" array - an accurate and articulate stage image can be achieved without any of the comb-filtering or other phasing problems inherent to spaced microphones.
ER  -