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[PLAYING CLASSICAL]
Hi, my name is John Escobar.
And we're going to be discussing five tips and considerations when
recording ambisonics.
[PLAYING CLASSICAL]
Because our image is derived from the combination of the various capsules
working together, it's very important to be really precise in the recording
level for each channel.
Ideally, you want to get them to be within a tenth of a dB of each other.
Though you could theoretically do this with individual analog preamps,
it's going to be much easier to do so on digitally controlled preamps
via a digital recorder.
This also allows you to link pairs or groups of channels
together so that one gain knob or fader controls all the channels involved,
making setting your levels much easier.
Another benefit of working with a digital recorder
is that you can also record your audio at a higher sample rate, which means
that you've got more digital fidelity.
And because we're capturing 360 immersive audio,
that means that you get more detail out of the environment
that you're capturing.
[PLAYING CLASSICAL]
We're trying to get our recorder to within a tenth of a dB from channel
to channel.
In order to do that, you can easily use pink noise
or any other kind of test tone to accurately calibrate those signals.
Whatever you decide to use as your signal test tone,
as you set your gain staging for your preamps,
you're going to want to make sure and leave 12 to 16 dB of headroom
so that as your performance happens, you've got room for dynamics.
Keep in mind that even though your signal generator is now
going to be showing even signals across all of your channels,
when you're actually capturing your recording,
you're going to see signals vary from channel to channel,
depending on the source that you're capturing.
[PLAYING CLASSICAL]
Regardless of what your recording might be used for later,
it's really important to be aware of the acoustic space around you
when dealing with placing your microphone.
[PLAYING CLASSICAL]
Large objects like walls tend to partially absorb,
but mainly reflect sound back into the room,
causing delayed and layered arrivals at the mic.
These reflections give us a sense of distance
from the sound source, as well as the direction
of where that sound is coming from.
The louder a sound source is, the more air pressure there will be in the room,
and the reflections will be more obvious.
The reflections will arrive at each capsule and provide a sonic image,
much like our ears get.
In this example, we can hear the proximity
to different sides of the room and it's reflective surfaces.
[SOUND PULSE]
These changes in air pressure are what cause
signal levels to vary on each channel.
[PLAYING CLASSICAL]
If you are making ambisonic audio recordings
to use as a bed in which to layer other sound sources,
you'll want to pay attention to all of the details that make up
the sonic texture of that space.
You can pick a central location in the space which gives you
a good balance of the overall environment
and use that as your might listening position.
The more complex that texture is, or if you
want the ability to immerse your listener
into this environment at different areas,
you will need to do a more detailed capture.
You'll need to capture several listening positions
at the various places in the environment where there are strong sonic changes
and use those to stitch together an overall sonic image.
[PLAYING CLASSICAL]
When using ambisonics to capture a musical performance,
you should have a clear idea of what perspective you're hoping to capture.
Will this be the vantage point of an audience member?
Or will you be allowing the listener to get a performer's perspective?
In either case, you'll want to be aware of the dynamic balance
of the ensemble in the space, as this balance will be reflected and perhaps
exaggerated in the microphones capture.
You need to either move the microphone around
until you find a well-balanced listening position,
or adjust the player's positions in relation to the mic.
You may also choose to add spot microphones at each instrument
to help you capture find tonal and dynamic details.
Higher order ambisonic microphones help this
by having more capsules, and therefore, dedicated points of reference
in each direction.
The final thing when we're dealing with mic placement
is that often in an ambisonic recording, we're dealing with 360 degree video.
This adds a little bit of complication, because the camera is also
seeing around itself, which makes it a challenge
to pair the microphone to the angle of the camera.
So A, you need to make sure that the microphone is
out of the sight of the camera, yet still paired with your visual.
B, you need to make sure that the camera noises--
like fans-- are not affecting the input of your microphone, or rather,
what it's listening to.
And C, depending on the type of tripod or camera
stand that you're dealing with, it doesn't become an obstacle of sound
into your microphone.
[PLAYING CLASSICAL]
Generally, when making a recording, you're
going to want to be listening to what that sounds like in real time.
Unfortunately, this is one of the aspects
that's a little bit tricky with ambisonic recordings.
It's not as easy as panning left and right, because remember,
the four channels that you're capturing--
which are called an A format recording-- are not intended to be listened
to as four individual channels.
It's the immersion of those channels together.
Therefore, we can't simply pan left, right, left, right
for each of your channels.
So you have a couple of choices.
You can either do what we call a fold down or do a pseudo
stereo by picking two of the channels and panning one left and one right.
The other option is to do a real time A to B conversion.
You can do this on some DAWs using plugins,
or if you happen to be using one of the more modern field recorders,
they will sometimes provide real time A to B conversion right
onto the recorder.
[PLAYING CLASSICAL]
There's a lot of fine details when capturing ambisonics.
Some of the details that you're going to want to be keeping track of
are the calibration.
Not only what did you use as a test tone,
but what levels were you getting when that test tone was playing back
through your system, and into each channel.
Also, you're going to want to make sure and document
the directionality of your microphone towards your sound source,
especially if you're pairing that recording to a visual.
Was your microphone front-facing, was it upside-down, or was it end-fire?
All of these together later in post-production
are going to help you accurately recreate the environment
that the microphone was in.
Even though it might seem like a lot to remember,
keeping these five tips in mind when recording ambisonics
will result in a better recording.
[PLAYING CLASSICAL]
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