Professional Documents
Culture Documents
A variable dual
microphone system for
stereophonic sound
recording
Introduction
In the field of monophonic sound recording the It is unfortunately too often the case that the
sound recording engineer has a large range of position of the microphone system is a
different types of microphone from which to compromise between a good stereophonic sound
choose his particular preference for recording image and the optimum ratio of direct to
any specific sound source or sound environment. reverberant sound. In more general terms, it is
All manner of frequency response curves can be evident that the different parameters that must be
chosen either to modify the timbre of the sound taken into ac- count during the process of sound
source, or, if desired, to reproduce it as faithfully recording are infinitely variable, each situation
as possible. The directivity of the microphone and encountered being in itself unique. The conditions
its position in relation to the source, can also be that are necessary to achieve optimum results in a
chosen to obtain, fairly easily, the desired specific context with the present "tools of the
relationship of direct to reverberant sound. trade" are but rarely encountered.
Unfortunately we do not have the same flexibility Even in the face of this very limited choice, many
in the choice of microphone systems for stereo- attempts have been made to establish which, of the
phonic sound recording. The number of available different systems available, could be considered as
microphone systems and the types of micro- having the best overall performance. The futility of
phones used, is relatively limited, and, almost this type of approach becomes immediately evident
without exception, those that are available have in the light of the fact that each specific system has
fixed characteristics. It is undeniable that each of a unique set of characteristics and that the sound
these systems may be optimum in one particular recording sources and environment are infinitely
situation, however none of them can be variable.
considered as meeting all our needs for
stereophonic sound recording. On the contrary, rather than reduce the choice of
systems, an effort must made to increase the
In no way can we consider our present stereo- number of systems available. Each sound recording
phonic sound recording microphone systems as engineer must have the largest possible se- lection
enabling the listener to experience natural of systems to choose from, in order to solve the
perception of the original sound source. The specific problems presented by a particular
sound image as perceived by the listener is recording situation and, to express his own
conditioned by the choices imposed by the sound personal interpretation, as freely as possible.
recording engineer. Balance, sound perspective,
localisation, etc are determined by the sound The ideal is of course an infinitely variable system
engineer and his skill in transmitting these covering all situations. This document describes
parameters to the listener will remain part of the just such a variable dual microphone system called
art of sound recording for many years to come. « The Stereophonic Zoom » and explains
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The stereophonic zoom
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The stereophonic zoom
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The stereophonic zoom
The distance and angle between the microphones is Angle between the microphones, whereas the
chosen according to the Sterophonic Recording individual curves represent the various
Angle that is desired. Figure 3 shows the various combinations of angle and distance needed to
combinations of distance and angle as a function of obtain a specific stereophonic recording angle
the Stereophonic Recording Angle. The x and y axes (shown in circles as a ± value on the
(abscissa and ordinate) represent the Distance and diagrams).
From now on, this diagram, which we will call the combination distance/angle corresponding to a
"SRA diagram" (Stereophonic Recording Angle given Stereophonic Recording Angle. Certain
diagram), is our basic guide to choosing a specific limitations to our choice of distance/angle will be
considered a little later in this chapter.
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The stereophonic zoom
The Stereophonic Recording Angle is defined as : It should be said however, that it is not obligatory
for the SRA to be equal to the angle occupied by
THAT SECTOR OF THE SOUND FIELD IN the sound source. Most sound recording
FRONT OF THE MICROPHONE SYSTEM engineers in fact prefer the SRA to be slightly
larger than the sound source sector. This is
WHICH WILL PRODUCE A VIRTUAL SOUND equivalent to leaving a little headroom in a
IMAGE BETWEEN THE LOUDSPEAKERS. picture or more correctly in this case "sideroom"
in the sound image. The amount of sideroom is
obviously a matter of individual judgement, but is
Let us consider as an example, the combination :
rarely more than about 10° for a small group of
20cm / 90° musicians. On the other hand, in the case of a
(20cm between the microphone capsules / 90° much larger orchestra it is quite often
an- gle between the directivity axes) necessary to do the opposite and place the limits
of the SRA within the orchestra (negative
We can read off the SRA diagram (Figure 3) that sideroom), the left limit being within the first
this combination has a S.R.A. of : violins, the right limit within the double basses.
± 50° This allows more space for the individual
instruments (flute, clarinet, oboe, etc…) in the
middle of the orchestra. But this is a question of
Note : The Stereophonic Recording Angle is, by individual preference, and there are as many
convention in this publication, always specified as ± different choices as there are sound recording
an angle, '+' indicating clockwise measurement and engineers!
'-' indicating anticlockwise measurement. This
convention is adopted in order to avoid confusion I. 3. 2 Microphone position
with the specification of the angle between the
How does one determine the position of the
microphones which is specified as the total angle. In
the above ex- ample this means that + 50° is microphone in the first place? This is not a
measured clockwise from the front centre axis of question of measurement or even following a set
the microphone sys- tem, and -50° measured of rules, but more one of individual preference.
anticlockwise (a total stereophonic coverage angle However, it is simple enough to describe those
of 100°). factors that are modified with a change in micro-
phone position.
Two other possible combinations with the same
The variation of distance between the sound
Stereophonic Recording Angle of ± 50° are :
source and the microphone will certainly change
10 cm / 130° and 30 cm / 50° the level of direct sound reaching the micro-
phone, however this will be perceived as a
But of course there are a multitude of combinations change in the ratio of direct to reverberant
possible for a specific SRA. Here are two examples sound. It is this ratio that is responsible almost
of other readings from the SRA diagram : entirely for our perception of depth or sound
10cm / 60° has an SRA of ± 90° perspective within the sound image. Each
40cm / 110° has an SRA of ± 30° individual sound engineer will have his own
subjective appreciation of the optimum value of
All sound sources within this angular sector will be this ratio in relation to the type of recording
reproduced as virtual sound sources BETWEEN the being made. In the case of multiple sound
left and right loudspeakers. Any sound source out- sources, as for in- stance with an orchestra, the
side this sector will be reproduced ON either one or
position of the microphone system must also
the other loudspeaker. The operational procedure for
setting up the system consists basically of measuring take into account the relative acoustic levels of
the sector occupied by the sound source and using individual instruments or sections of
this as the required SRA of the microphone system. instruments, the aim being to obtain a good
The combination distance/angle can then be read “balance” between all the different sections of
from the SRA diagram. the orchestra.
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The stereophonic zoom
Once the microphone position has been deter- I. 3. 3 Frequency response curve
mined, one has only to measure the angular and directivity
sector covered by the whole of the orchestra, A major advantage using the « Stereo Zoom » or
decide how much "sideroom" one wishes, and "Variable Dual Microphone System" is that we do
then read off the corresponding combination of not need to restrict the choice of directivity pat-
distance and angle: terns to only cardioid microphones. In Figure 4,
the SRA Diagram is shown for a specific
Stereophonic Recording Angle = Hypocardioid ("Wide Angled cardioid" or " Infra-
Sound Source Sector + "Sideroom" carded") Microphone, and Figure 5 shows the
SRA Diagram for a specific Hypercardioid
Microphone.
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The stereophonic zoom
It is general practice to use omnidirectional be 0°. This is more easily seen on Figure 4 – the
microphones to generate "Time Difference only" SRA diagram for a hypocardioid‹d directivity
stereophony. However by reducing the angle pattern. For example:
between two directional microphones to 0° and by 35cm produces an SRA of ± 90°
varying only the distance between the microphones 41cm ------------------------- ± 70°
the same result is obtained. The fact that the two
50cm ------------------------- ± 50°
microphones are parallel means that, although
there is attenuation due to the directivity of the These values can be verified in Figure 6, which
microphone when the sound source is to one side represents the SRA Diagram for Omnidirectional
or the other of the microphone axis, the Microphones. Variation in the angle between the
attenuation is the same on both microphones. microphones will obviously not produce any
Therefore no “Intensity Difference” information is change in the Stereophonic Recording Angle of a
generated. This means that the SRA values can be specific microphone system, as long as the
microphones have a truly omnidirectional
read off any of the SRA diagrams as long as the
response over the major part of the audible
angle between the microphones is considered to spectrum.
However, there are other important factors that eight microphone has a 6dB/octave roll-off in the
must influence our choice of directivity pattern for bass frequencies. The exact frequency at which
the microphones. The first consideration is the the roll-off starts is determined by the
frequency response curve associated with a manufacturer, depending upon the required
specific directivity. Omnidirectional microphones microphone sensitivity and signal to noise ratio.
have in general a good response in the bass Figure 7 shows the variation in roll-off as one
frequencies, in the case of omnidirectional passes from omnidirectional through to figure-of-
electrostatic microphones the frequency eight directivity. This series of frequency
response can go as low as a few Hertz. However response curves related to directivity assumes
this is not the case for pressure gradient that all other frequency dependent factors are
microphones, a figure-of- equal, especially sensitivity.
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The stereophonic zoom
Omnidirectional
Hypocardioid
Cardioid
Hypercardioid
Bidirectional (Fig-of-8)
Figure 7 – Frequency
response curve and
directivity
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The stereophonic zoom
It is therefore quite possible to take advantage of • Distortion of Angular Localisation within the re-
the better bass response with a hypocardioid produced sound field
microphone as against a cardioid, or on the • Variation of the ratio of direct to reverberant
contrary, to attenuate bass response with a sound within the reproduced sound field
hypercardioid. This choice is generally determined
by the acoustic environment of the recording A more detailed analysis of these two
(traffic or ventilation noise, structure born vibration, characteristics will follow in paragraphs I. 4.1 and I.
etc...), or simply by one's personal preferences. 4.2.The SRA Diagrams represented in Figures 3, 4
However any practical Stereophonic Recording and 5 are just the first stage in the complete
Angle (between ± 90° and ± 30°) can be obtained graphical representation of the characteristics of
with any chosen directivity pattern. Other reasons different microphone systems. A quick look at
for choosing different directivity patterns will be Figures 8, 9 and 10 will show the method now used
considered in later chapters, for example the to represent these two additional characteristics :
response of the microphone sys- tem to the • The values of Angular Distortion are represented
surrounding acoustic environment. within a square box on each curve
I. 4 Operational limitations 4 5 6 7 8 9
In Figures 3, 4 and 5 it would seem that there is an • the two shaded areas at the top and the
almost infinite choice of the different combinations bottom of each diagram show the
of distance and angle that produce a given Stereo- combinations where the ratio of direct to
phonic Recording Angle. Although this is certainly reverberant sound varies within the
the case concerning the angular limits of the stereophonic recording angle. In the top
Stereophonic Recording Angle, there are however shaded area there is too much reverberation
some other operational limitations which must be in the centre zone of a particular microphone
taken into account in the final choice of a micro- system, whereas in the bottom shaded area
phone system. Two additional major characteristics the reverberation increases towards the
of the reproduced stereophonic sound field must extremities of the SRA.
be considered :
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The stereophonic zoom
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The stereophonic zoom
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The stereophonic zoom
The opposite situation (shown in Figure 12) in which proportions of the reproduced sound image
the sound source sector is less than 60°, is the occurs, but this situation is hardly ever
situation in which expansion of the angular encountered.
Angular Distortion is one of the operational different systems available in order to be able to
limitations to the choice of various combinations choose the sys- tem that will be absolutely
of distance and angle in the SRA diagrams. It can optimum in a given situation.
vary considerably in relation to the directivity
On each SRA diagram specific values of Angular
pattern that is chosen. In general it would seem
Distortion are shown in boxes situated along
normal to choose combinations that present a
each SRA curve. These values should give an
minimum of Angular Distortion, but of course
idea of the relative quantity of Angular
certain sound recording situations can warrant
Distortion. To understand the significance of a
the use of higher values of Angular Distortion. The
specific Angular Distortion value we need to look
sound recording engineer must have a wide
a bit closer
knowledge of all the characteristics of the
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The stereophonic zoom
at the way these values were derived. In Figure then the relative positions of A, B, C, D and E will be
13, we have a series of sound sources A, B, C, D maintained (Figure 14).
and E, situated at equal distances along the arc • A at the left hand loudspeaker
of a circle • B midway between left loudspeaker and centre
• C in the centre
If no Angular Distortion exists in reproduction, • D midway between right loudspeaker and centre
• E at the right hand loudspeaker
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The stereophonic zoom
Angular Distortion will modify the reproduced sound sources A, C and E will not be affected by
positions of sound sources B and D, they will be this shift and will remain in the same relative
shifted towards each loudspeaker, as illustrated in position (A and E being, by definition, the limit of
Figure 15, where a shift of 5° of B and D is shown. the SRA, C being the centre of the system).
The
It is this Angular Shift of the sound sources B and the loudspeakers. This can also be interpreted as
D that is used in the SRA diagrams, to represent a stretching of the centre of the reproduced
the maximum Angular Distortion of a given sys- sound image, sometimes called "hole in the
tem. We can read off the SRA diagrams specific centre". This is in fact a misnomer, as the centre
values of Angular Distortion for given combinations of the sound image still exists but is distributed
of distance/angle from Figures 8, 9 and 10. Here over a wider sector.
are a few examples taken from Figure 9 (SRA
It should be noted that, in Figure 9 for example,
diagram for cardioid microphones):
the Angular Distortion is minimal towards the
centre of the diagram. In other words, for a given
15 cm 110° >>>>>>>>5° (SRA of ± 50°)
SRA one obtains minimum Angular Distortion by
28 cm 60° >>>>>>>>4° (SRA of ± 50°)
using a combination of Intensity Difference
0 cm 90° >>>>>>>>6° (SRA of ± 90°)
(Angle) and Time Difference (Distance)
37 cm 0° >>>>>>>>9° (SRA of ± 80°)
stereophony in about equal proportions. Angular
Distortion increases by a few degrees, with
This characteristic of Angular Distortion is
systems using only Intensity Difference
perceived as a compression or crushing of the
(Distance = 0cm), and even more so with
extremities of the reproduced sound field
systems using
towards
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The stereophonic zoom
mostly Time Difference (Angle between micro- Here again, each sound recording engineer must
phones = 0° or with spaced omnidirectional use his own knowledge and judgement to adapt to
microphones). circumstances, and of course, each person may
have individual preferences. It would also be a
It is also possible to see from these SRA diagrams, mistake to try and standardise a given procedure,
how the specific directivity that is chosen for the just as much as it would be a mistake to try and
microphones has an effect on the quantity of pass on one's own individual way of working - this
Angular Distortion at various combinations of leads sooner or later to a complete sclerosis of
distance/angle. The most extreme case being the "art of sound recording".
omnidirectional microphones spaced at 40 cm to
50 cm, where Angular Distortion is about 9° to 10°. The following procedure should therefore be
considered just as a starting point (if this is
needed), in developing your own working
I.4.2 Variation of the ratio of direct methods:
to reverberant sound within the
1) Frequency Response Curve
Stereophonic Recording Angle Each microphone has a typical frequency
There are two distinct zones, shown in Figures 8, 9 characteristic which determines the quality of
and 10 by shaded areas, where this problem exists. timbre reproduction of the sound source. This
In the shaded area at the top of each diagram, the characteristic, especially with respect to the bass
ratio of direct to reverberant sound decreases to- response, must be considered in relation to the
wards the CENTRE of the SRA, whereas, in the directivity of the microphones to be used as
shaded area at the bottom of each diagram, this shown in Figure 7.
ratio decreases towards the EXTREMITIES of the
2) Position of the microphone system
SRA.
Here we are looking for the optimum ratio of
This effect is obviously more apparent in reverberant direct to reverberant sound, as well as a good
surroundings, and can to some extent be neglected balance between individual elements of the sound
in a relatively "dead" studio environment. In outside source. If these two factors are not compatible, it
recording however, the reverberation level is re- is here that perhaps the first compromise has to
placed by environmental ambience and these zones be considered.
may again become apparent.
3) Stereophonic Sound Image
The exact angle, at which change in reverberation The Stereophonic Recording Angle is chosen so
becomes unacceptable, is again a subjective factor as to take into account the sector occupied by the
and can vary from one person to another. The limits sound source, plus any "sideroom" that is
shown on the diagrams can again only be an considered necessary.
approximation.
4) Angular Distortion
In general, there is but one combination of
I. 5 Recording procedure distance / angle for the desired SRA, if minimum
We are now ready to put into practice the Variable An- gular Distortion is required. Otherwise the only
Dual Microphone System in a stereophonic restriction in the choice of other combinations of
recording situation. Good angular localisation of the distance / angle is that the shaded areas should
reproduced stereophonic image plays an important be avoided, unless specific effects are considered
role in stereophonic sound recording, it is certainly necessary.
not the only factor that must be considered, but it is
one of the most important. In what order should one 5) Mono/Stereo computability
analyse each of the parameters of the microphone The different combinations of distance / angle
sys- tem in relation to the characteristics of the available, enable one to opt for Intensity
sound source and its acoustic environment? Difference Stereophony (having good
• Frequency Response Curve of the microphones mono/stereo compatibility) or on the other
hand, to increase the Time Difference
• Position of the microphone system
contribution to obtain a better feeling of "space",
• Localisation within the Stereophonic Sound Image but we all have different ideas on this subject!
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The stereophonic zoom
If a specific characteristic is causing difficulty, it ever, there must exist a number of firms making
may be necessary to change the order of priority this type of device in other parts of the world. It is
and start this sequence again. This process worth buying the luxury model with maximum
continues until optimum results are obtained or at diameter optics, in order to obtain a good clear
least, the best possible compromise. image and a real 180° viewing field. You could
also use the "Fish Eye" lens from your camera as
I. 6 Measuring instruments a viewer, but this is a rather expensive solution to
The sector, occupied by the sound source plus any the problem.
sideroom that is desired, must be determined
reasonably accurately, so that one can read off The details of the complete viewer are shown in
from the SRA diagrams, the combinations of Figure 16, and as you can see, the only materials
distance and angle for the required Stereophonic that are needed, are a few long and short nails,
Recording Angle. At present no measuring and some off-cuts of plywood. Nails have been
instrument exists that is adapted to this type of placed every 10°. The long nails being placed at
measurement, except perhaps the sextant. This 0°, ± 30° and ± 60°.
situation is easily rectified, if you are prepared to
take up saw, hammer and nails, and follow a simple Measuring the sector covered by the sound
"Do It Yourself" plan.
source is now a simple matter looking at the
The optical part of the instrument that will be sound source through this viewer and reading off
described is a 180° optical viewer ("Judas hole"), the angle corresponding to the left and right
normally mounted as a door viewer, to check who limits of the sound source. Figure 17 shows such
is outside before opening up. In France one of the a view through the viewer - you can see why we
firms making this viewer is called "BLOSCOP", how- have nicknamed the instrument "the crocodile”
Figure 16 –
“The Crocodile”
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The stereophonic zoom
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The stereophonic zoom
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The stereophonic zoom
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The stereophonic zoom
Our reasoning behind this method of presentation developed in the second chapter of the book “St
was very simple. It is very difficult to create a Zoom”, the third chapter being an attempt to reply
neutral listening situation, our capacity to analyse a to the numerous questions that arise concerning
sound image is too often influenced by intellectual the basic theory involved in the development of the
considerations or simply by the visual environment. system, and the application of this system of
In other words, if we know what we want to hear or stereophonic sound recording to the multitude of
what we should hear, then we are quite capable of situations encountered in everyday recording.
persuading ourselves that that is exactly what we
are hearing! The complete document can be obtained from
Michael Williams, “Sounds of Scotland”,
This is a problem in everyday working, even with BP50, 94364 BRY SUR MARNE
the most experienced sound recording engineers CEDEX, France
and is even worse in the student learning situation. or by email: Soundsscot@aol.com
In his eagerness to succeed, the student will adopt
any visual or intellectual clues that are available,
completely missing the one and only factor that is
important, which is his own listening experience. It Michael Williams started his professional
is the duty of the instructor to eliminate all the career at the BBC Television Studios in
visual clues and create the conditions necessary to London in 1960. In 1965 he moved to France
stimulate real listening. to work for ''Societe Audax'' in Paris developing
loudspeakers for professional sound and
television broad- casting, and later worked for
This article is an extract from the first chapter the ''Conservatoire National des Arts et
of the original publication “St Zoom” by Michael Metiers'' in the adult education television
Williams and should enable the sound recording service. In 1980 he became a free-lance
engineer quickly to use the St Zoom System for instructor in Audio Engineering and Sound
everyday sound recording with a minimum of Recording Practice, working for most of the
study. major French national television and sound
broadcasting companies, as well as many
However it must not be forgotten that a train- ing schools and institutions. He is an
deeper understanding of the operational active member of the Audio Engineering
method and its justification must take into Society, and has published many papers on
account a detailed mathematical, physical, and Stereo and Multi- channel Recording Systems
psychoacoustical analysis of the over the past twenty years. He is at present
characteristics of the stereo- phonic the AES Publications Sales Representative in
microphone system. This subject is l Europe.
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