Return to Paper Sessions  
AES Barcelona 2005
Paper Session R - Audio Recording and Reproduction

Last Updated: 20050404, tendeloo

Tuesday, May 31, 13:30 — 15:00

Chair: Wolfgang Ahnert, ADA Acoustic Design Ahnert - Berlin, Germany

R-1 Sharpening the Image in 5.1 Surround RecordingBenedict Slotte, Nokia Corp. - Salo, Finland
The main theme in this paper is how to achieve a sharp image in 5.0/5.1 surround recording using a conventional main microphone consisting of two or three first-order microphones (as opposed to multiple spot micing or higher-order microphones or microphone arrays). More specifically, three "LCR" microphone configurations will be investigated in more detail using numerical optimization as part of the procedure. Two of these configurations use coincident microphones and the third is a near-coincident setup. The latter, which is the main subject of this paper, is a new hybrid method that combines some of the virtues of existing main microphone techniques as regards imaging sharpness and listening area. Furthermore, suitable rear channel recording and mixing methods are briefly discussed in accordance with a general layered "image + ambience" approach. "Sharpening the image" in the title can thus perhaps also be interpreted in a wider, more abstract way relating to the understanding of the matter as a whole.
Convention Paper 6509 (Purchase now)

R-2 Modifying Stereo Recordings Using Acoustic Information Obtained with Spot RecordingsChristof Faller, Ecole Polytechnique Fédérale de Lausanne (EPFL) - Lausanne, Switzerland; Markus Erne, Scopein Research - Aarau, Switzerland
We address the following scenario: A concert is recorded with a stereo microphone technique. Additionally, several instruments or groups of instruments are recorded with spot microphones. The proposed technique adaptively in time estimates the impulse response between the spot microphones and the left and right stereo microphones. The spot microphones, filtered with the estimated impulse responses, are scaled and subtracted/added from the stereo microphone signals to attenuate/amplify the corresponding instruments. No amplitude panning and reverberators are needed while the auditory spatial image attributes of the stereo recording are not altered.
Convention Paper 6507 (Purchase now)

R-3 Designing Early Reflection Patterns Suitable for Audio Recordings by Means of Acoustic ModelingUdo Potratz, Detmold University of Music - Detmold, Germany; Ingolf Bork, Physikalisch-Technische Bundesanstalt - Braunschweig, Germany; Thomas Görne, Detmold University of Music - Detmold, Germany
The early reflection patterns of recording rooms strongly influence the subjective quality of stereo or multichannel recordings, especially when the microphones are situated at a distance from the source. The present paper investigates possibilities for the balance engineer to optimize the early reflection pattern at the microphone positions in a chamber music hall utilizing a computer-based ray tracing model.
Convention Paper 6508 (Purchase now)

©2005 Audio Engineering Society, Inc.