With the introduction of affordably priced high quality 3D microphones, such as Sennheiser’s Ambeo VR, it becomes interesting to consider whether to use such 3D receivers as support microphones and as dedicated extractors of ambience. This means capturing a sound field with a specific local balance, rather than the overall balance, and treating it as a part of a mix. The precise tetrahedral orientation of the four-cardioid capsules in such microphone gives it a spatial spreading advantage unavailable in a single-capsule spot microphone. The question is, what should be the best practice of integrating such 3D microphone into the ecosystem of surround sound with height, which is primarily based on single capsule transducers. The authors present the results of several recording experiments and offer recommendations for best practices in 3D mixing using tetrahedral microphones.
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