Top Stereo Articles

  • APP

    APP "Image Assistant 3" Beta

    The brandnew app "SCHOEPS Image Assistant v3" is available as a browser version and in the Apple app store.

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  • Berlin Ambience techniques, 2012

    Berlin Ambience techniques, 2012

    Berlin Ambience techniques, July 2012 At the occasion of the VDT seminar "Ambience recording" in Berlin (July 2012) a collection

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  • 3D Audio

    3D Audio

    3D-Audio offers a fantastic chance for spatial sound reproduction. 3D-Audio includes fundamentally different reproduction principles: physical sound field reproduction (WFS,

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Top Stereo Powerpoints

  • 3D-Audio Recording

    3D-Audio Recording

    Microphone techniques for 3D recording

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  • Tutorial Stereo, Surround & 3D

    Tutorial Stereo, Surround & 3D

    Tutorial on the basics of stereophonic imaging

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  • Ambience Recording

    Ambience Recording

    Techniques and theoretical principles for recording ambience

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Stereo & 3D

Ambience Recording

Ambience Recording is a special case of stereo recording. Most stereophonic techniques apply for ambience recording, as well. However, a stereo ambience often requires some more thinking,as it can have quite different properties, and thus requires different recording techniques. For example, a diffuse ambience in a hall without any discrete sources requires a different recording technique compared with an ambience consisting of a group of discrete sources in distinct directions. We have compiled some practical and theoretical hints for that topic here:

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Coincident Microphones comparison (Diffuse Field)

The spatial and timbral effect of stereo setups with different DFC (Diffuse Field Correlation)

We recorded 5 different coincident stereo microphone setups simultaneously in a diffuse, noisy university hall (Hochschule der Medien, Interaktive Medien, with Prof. Curdt)

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Berlin Ambience techniques, 2012

Berlin Ambience techniques, July 2012

At the occasion of the VDT seminar "Ambience recording" in Berlin (July 2012) a collection of 5 simultaneous recordings with 6 different surround ambience microphone setups was produced. These test samples enable a direct comparison between the different setups (and recording principles) and therefore a very precise assessment of the properties of the recording techniques in different recording locations.

Furthermore, the test samples enable a blindfolded listening test, as any loudness differences between the setups were equalized. For a repetition of the listening test, the detailed test and recording description, the listening test questionnaire and the audio samples are available for download:

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The "Uncanny Valley" of 3D-Audio

It is a phenomenon, that all of a sudden recording techniques are popular again that seamed to be dead (for good reasons). With the rise of 3D-Audio, 1st order Ambisonics recording techniques are in the game again and everything we learned about them in the last 40 years seems to be forgotten...

Why didn't we like coincident techniques too much for certain applications, in particular for spatial recording? Yes, it's because they sounded boring in comparison with spaced techniques. The reason is simple: the signal was quite Mono, i.e. the signal separation was poor. Now, as we're adding one more dimension to the stereo sound field, this is even more disadavantageous.

Good old Stereo with the laws of level and time differences can be much better than 1st order Ambisonics, because it creates sufficient signal separation which can enable a proper imaging and a wonderful spatial quality.

Find my recent talk about 3D techniques with the analogy of the "Uncanny Vally of 3D-Audio" in these slides. Read more on the comparison between Stereo and 1st order Ambisonics in this article: "ORTF-3D": eine Mikrofontechnik für Atmoaufnahmen in 3D-Audio und VR

ORF Surround sound techniques, 2002

This early 5.1 microphone technioque shoot-out gained a lot of knowledge and until now, these audio samples (nicely made up as a DVD-Audio) are useful to compare diffferent approaches.

During a Surround Sound Microphone Seminar at ORF (Austrian Broadcast, Vienna) in the year 2002, a comparison of seven main microphone setups (see below) for 5.1 Surround Sound was performed by a simultaneous recording with consecutive blindfolded listening tests. The Radio Symphony Orchestra Vienna played two different music samples.

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"ORTF-3D": eine Mikrofontechnik für Atmoaufnahmen in 3D-Audio und VR

Entwicklung und Anwendung einer stereofonen Mehrkanal-Mikrofontechnik für 3D-Audio und VR

Helmut Wittek, 2016

Bild oben: Blick auf den geöffneten ORTF-3D Windkorb.

Artikel als pdf (English)

Toningenieure, die in 3D arbeiten, sehen sich bei der Wahl der passenden Aufnahmetechnik einer schwierigen Aufgabenstellung gegenüber.  Bei 3D steigt - im Vergleich zu Wiedergabeverfahren, die nur in der Horizontalebene arbeiten - die nötige Anzahl der Kanäle und damit die Komplexität deutlich. Es ist verlockend, aber keine gute Idee, allzu einfache Lösungen anzuwenden, denn der Kunde fordert einen Mehrwert von 3D-Audio gegenüber konventionellem 5.1 Surround. Bei einer guten 3D-Aufnahme, die mithilfe der passenden Aufnahmetechnik gemacht wurde, ist dieser Mehrwert in beeindruckender Weise hörbar.

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