Banff – June 2003

Miking with DPA Microphones

A workshop in Surround Miking

Mikkel Nymand
Eddy Bøgh Brixen
Morten Støve
DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Introduction to Microphone Techniques for

5.1 Surround Sound
By Mikkel Nymand, Tonmeister
DPA Microphones A/S

The aim of the DPA Microphones workshop is to as case stories and guidelines. As at the practical
demonstrate a couple of surround microphone session at Banff, a few adjustments of the described
techniques that we are confident can provide techniques will probably always be appropriate to
succesful recordings adapt them to the room, the size of the ensemble,
the musicians and finally the desired timbre.
0 INTRODUCTION We will outline some of the differences in the set-
Surround Sound is a challenge to the audio world. ups but we are not intending to give any definitive
Recording engineers have been experimenting on answer to "the best technique" - only demoing well
microphone techniques since the upcoming of sounding set-ups.
especially 5.1 surround and are learning every day
in our search for "standards". Aesthetics are seeken 1.1 The Surround set-ups shown at Banff:
for. Among as well technicians as producers, • Decca Tree + ORTF (Article: Lars S.
musicians and listeners. How can we use this new Christensen, Danish Broadcasting Corp.)
format best recording wise? Front Tree: 3 pcs. DPA 4006 omnis
Rear: 2 pcs. DPA 4021 cardioids in
It seems that the best perceived recordings are the CXO4000 XY/ORTF stereo bar
ones, that envelops the listeners in a natural sound (rear mics included in the DPA 3521
field and the ones that do not demand an excact - Compact Cardioid Stereo Kit).
and hardly achievable - sweet spot (in 2 o Variant: As above, but rear mics substituted by
dimensions!) but make a bigger listening sweet area largely spaced 4011s. Se page 9.
possible. It is our experience that this is best done
with spaced microphone arrays that have a certain • Combined wide and first order cardioids
amount of decorrelation. (Article: Geoff Martin, Bang & Olufsen/Jason
Corey, University of Michigan)
Surround Sound and new digital recording formats Front: 3 pcs. 4015 wide cardioids. Rear: 2
have increased the demands for high quality pcs. 4011 cardioids.
microphones and the knowledge about microphone
techniques. All microphones need to be of a neutral o Variant: As above, but center mic substituted by
character and in most cases even matched within a 4041-SP omni.
very narrow tolerance. In order to reproduce an
authentic sound stage, it is furthermore a critical • 5 omnis, DPA 4006s + L50B Acoustic Pressure
factor that the microphones have a very smooth and Equalisers on rear mics. (Article: Richard King).
linear off-axis frequency response.
The benefits of high sampling recordings is as much 1.2 Why use an ORTF pair as the rear
the improved time domain resolution as it is the microphones?
extended frequency range. This will indeed reveal a The ORTF set-up is a stereo based system and is
microphone's transient response. perhaps not the most obvious choice as a rear set.
Recording angles and localisation accuracy are by
1 EXAMPLES OF OFTEN USED AND SUPERIOR nature designed to be played back on a standard 2
SOUNDING SET-UPS channel loudspeaker set-up. Nevertheless, ORTF is
Taking the above general considerations into highly usable as a compact and convenient rear
account, DPA Microphones A/S are of the opinion, pair.
that no surround miking technique can be chosen
as the best, neither can any technique be 1.3 Why substituting a 4015 wide cardioid?
considered true "all-round". The articles in this In some music pieces, certain instruments or
preliminary collection of the DPA Microphones instrument groups are intended to be particularly
User's Surround Miking Techniques can be studied prominent and call for more attention to the

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

microphone technique. For instance, a solo singer

can be placed in the center speaker and adjusting
the center microphone after this is a powerful tool.
The supreme transparency and defintion from the
large diaphragm microphone Type 4041 combined
with the (only) on-axis presence boost make it an
interesting choice when re-positioning the center
microphone.

1.4 Why use Acoustic Pressure Equalisers?

With the DPA Acoustic Pressure Equalisers you are
able to modify the frequency response of the 4003
or 4006, giving your recordings a more intense
sensation of source clarity and presence and a
marked increase in brightness. This is done without
adding any noise or distortion from EQs because
the lift is done acoustically at the diaphragm. The
L50B sphere will introduce a presence boost and
more directionality at higher frequencies, which in
sound colour is identical to old legendary
Directional response of Types 4003/4006 fitted with
microphone types originally used by Decca, only APE L50B
with the much higher degree of naturalness offered
by a DPA microphone.

On-axis frequency response of Types 4003/4006

fitted with APE L50B

On-axis and diffuse-field responses of Types Directional characteristics of Types 4003/4006 with
4003/4006 with the Near-field Grid DD0251 fitted. Near-field Grid DD0251 fitted

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Basic front array

Decca Tree

= DPA 4006 Omni microphones

Setup no 1

Decca Tree, +ORTF Lars S. Christensen/Jan Oldrup

Sound Source
DPA 4006 Omnis

DPA 4021 or 4011 Cardioids

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Setup no 2

5 Omni’s Richard King

Sound Source

DPA 4006 Omni

DPA 4006 Omnis

w. L50B APE
1,3m – 2,6m 3,6m – 5m
Elev. 2,6m – 4,3m

2m – 3m
Elev 4m-6m

Setup no 3

Spaced Cardioids Geoff Martin/Jason Corey

Sound Source
DPA 4015 Wide Cardioids
60 cm 60 cm

0-15 cm DPA 4011 Cardioids

60-90 cm

30 cm

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Setup no 5

Spaced Cardioids, variant – Gary F. Baldassari

Sound Source DPA 4041 Omni

60 cm 60 cm DPA 4015 Wide Cardioids

0-15 cm
DPA 4011 Cardioids

60-90 cm

30 cm

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

A Surround Microphone Set up for Classical Music

Lars S. Christensen,
Danish Broadcasting Corporation
DR Music Production, Copenhagen, Denmark

1 WHY MULTICHANNEL AUDIO? 2 DIFFERENT SOUND FORMATS TO TAKE

There is a still growing demand from consumers CARE OF
(and professionals) for perfection regarding sound As broadcasters we have pay special attention to:
quality and realism. This need was original created • The need for and ways of controlling and monitor
by the movie industry and transferred into other downconversion of multichannel audio to lower
areas as the broadcasting and music recording hierarchical reproduction systems like stereo,
industries. mono and matrix surround
The majority of people that have experienced • The need for and ways of upconverting stereo,
multichannel audio presentations of films, features, quadrafonic or matrix surround to multichannel
sports, music etc. will agree, that this format is audio
much “better” than “stereo”, which at the time it was • How to handle codec conversion between
introduced (in the sixties) was much better than different coding- and transmission systems like
mono. MPEG-1, MPEG-2 AAC or Dolby digital (AC3)

I think that the main reason for this evolution could 3 MULTICHANNEL ACTIVITIES AT DR
be expressed by the simple sentence: So what has been going on in DR in the
multichannel audio field?
You get more and more involved.
During the past 9 years the television section of
DVB (digital television) and DAB (digital radio) is a Danish Broadcasting Corporation: DR-TV has
reality, making discrete multichannel audio (5.1) produced a few programmes (drama, pop) in the
actual in TV, but possibly not in DAB, because a matrixed 4:2:4 format (Dolby Prologic).
discrete DAB program in 5.1 will occupy about 2,5
stereo radio channels thereby reducing the number The Radio section: DR-Radio started experimenting
of possible “normal” channels in a “DAB-block”. with 3.2 multichannel audio productions of classical
music in 1996 and in the same period a few feature
On the other hand the productional field of programmes in 4:2:4 and some experiments with
“nonbroadcasted programs” seems to be a more Radio drama productions in 4:2:4 have been made.
and more successful part of a broadcaster’s daily
life (CD productions, internetproductions, DVD At the moment 2 controlrooms (the controlroom for
productions, SACD productions etc.). the Concerthall and the controlroom for a rytmical
studio) are equipped with large scale digital mixers
This will have an interesting side effect for the including surround facilities.
production activity of a broadcaster, which we have
to consider: The number of possible versions, our 4 THE HARDEST POINT ABOUT
productions could be presented at in the future e.g.: MULTICHANNEL AUDIO
Making a live concert, it might be: It’s my feeling that acoustical music is the most
difficult production area of multichannel audio. It’s
• Transmitted in a stereo version in more or several rather easy to produce an effectfull multichannel
countries around the world for Radio and Web- sound track for a film, which is amazing in
radio (maybe an encoded Dolby Prologic version) comparison to mono/stereo, it’s rather easy to
• Transmitted in multichannel for DVB produce a feature, produce pop-music, produce
sport programmes etc. for TV or Radio, which is as
• Recorded for DVD /SACD amazingly better than stereo, but it seems to be
more difficult to produce “serious” music in this
format.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

What’s the reason for that obvious difference? Doing a 5.1 recording in this huge church I was
Several listening test by us have shown, that forced (by a television crane operation) to place the
experts listening to “classical music” in multichannel surround set about 20 meters away resulting in
reproduction want to have a listening situation like in audible ecco effect. This was overcome by
the concert hall: You look upon a stage and an introducing delay in the frontset reducing the delay
orchestra, you expect to have your sound between the two sets to about 30 mS. Consequently
experience from the front and are disturbed by a all the support mikes used were additional delayed
sound experience from the back (even audience), (their distance to the front set + the front set delay
unless some “off stage” effects are an obvious part introduced).
of the event (like in some Mahler symphonies and
some other classical works). What I don’t like about the decca-triangel is, that it
does not look very pretty (as might be seen in figure
5 THE PRESENT DR MULTICHANNEL 1) and is at the same time difficult to hang from at
TECHNIQUES FOR RECORDING ACOUSTICAL roof or even place on a microphone stand. By the
MUSIC above mentioned occasion it took 4 men about 2
Having tried out a number of different surround hours to position the set above the orchestra in the
microphone techniques I prefer a system based on cathedral.
the “Decca-Triangel” of omnidirectional mikes for
the front and either an ORTF-pair or “A/B-pair” of 6 POSTLUDIUM
cardiods pointing to the rear of the hall for the The experimental phase of multichannel audio
surround. These techniques are shown in figures 1- productions will surely go on for years, looking for
4. new ways and methods (as it’s still the case with
stereo). I intend to go on trying ways of improving
From my experience it is necessary to have (or the soundquality and sense of being a part of an
simulate) a big physical distance between the front event. The practical use of the sixth channel, the
set and the surround set. If this is not the case you LFE-channel, in music has to be explored too.
will get the impression not having the orchestra in
front of you due to the relatively strong content of
direct sound in the surround mikes, which seems to
annoy most listeners very much. Biography
Mr. Lars S. Christensen has been employed as a music
By using omnis in the decca-triangel it is possible to sound engineer in Danish Broadcasting Corporation for
maintain the excellent sound colour which is unique the past 25 years, now as a Senior Sound Engineer. In
the most recent years, he has recorded and edited more
for omnis. The side length of the triangle should be than 100 CD’s, several of which have obtained
adjusted according to the size of the orchestra, i.e. international distinction.
by small ensembles like quartets 60 cm is adequate
and by large ensembles like a symphony orchestra Lars S. Christensen has been chairmann of the Sound
90-120 cm. The center mike should be put 3 dB Quality group in Danish Broadcasting Corporation for 10
down in level compaired to the left and right mikes. years. He has been involved in several project groups
(digital consoles, digital workstations, surround sound
By using good cardiods for the surround set and etc.) and additionally, he was in charge of several training
placing this set typically 8-10 meters from the front courses for internal/external technical personnel and for
“Tonmeister”-students at the Royal Danish Academy of
set (corresponding to the critical distance for most Music. He has given lectures at several international
larger halls) it is possible to avoid the problems events, most recently at the AES Conventions in
mentioned above with the orchestra “sitting on your Copenhagen 1996 and Munich 1997.
knees” or even behind you.
For several years Mr. Christensen was a member of
In some cases you can be forced by practical different EBU Project Groups, most recently the Project
circumstances to use even greater distances Group P/MCA (Multichannel Audio).
between front- and surround sets.
He is now involved in planning a new Multimedia Center
in Copenhagen which by the end of 2006 will substitute
The pictures shown in figure 1 and 2 are actually the present Radio- and Television Centers in
from a TV-production in 2001 of Händels Messiah in Copenhagen.
the cathedral of Ribe in Denmark.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Figure 1 Figure 2

DPA 4006 DPA 4006

C C

60-120 cm 60-120 cm
60-120 cm 60-120 cm

DPA 4006 L 60-120 cm R DPA 4006 DPA 4006 L 60-120 cm R DPA 4006

8-10 m
8-10 m

DPA 4021 LS RS DPA 4021

ORTF Holder CXO4000 DPA 4011 LS RS DPA 4011
17 CM
2m

Figure 3 Figure 4

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Recording DNRSO in Surround 5.0

By Jan Oldrup, Sound engineer
Danish Broadcasting Corporation
DR Music Production, Copenhagen, Denmark

0 INTRODUCTION Its is quite obvious to hear the differences even with

Before putting up any microphones its wise to have small chances within 10-20 cm in height. You need
a judgement of the acoustics of the recording a little time to find the right balance between direct
environment, to know the character of the music to and ambient sound.
be recorded and the size of the orchestra. These 3
factors shall decide your position and the mike The three microphones on the Tree is DPA 4006, so
spacing in the main set and also how many spot are the two outriggers .The mikes holds the light or
mikes to be used. My main mike set up for main the black grids and they are angled a little down in
room pick up is the Decca Tree array, with two the orchestra.
Outriggers to pickup the sides.
Spot mics are used when the acoustics or the piece
The Decca Tree is an array of equally spaced omni of music needs it. It is normally music with a lot of
directional microphones positioned over the percussion.
conductor. For film music the mikes on the back bar
would point between the first stands of violin and The spot mics used for strings are DPA 4021 and
cello .For classical music the back bar will normally DPA4011 for woodwinds and percussion.
come out a little farther. The LS and RS mikes will be placed app. 10 meters
from the frontline of the orchestra, it has to reach
The spacing of the tree microphones is somewhere the diffuse sound area.
between 90 and 150 cm and the height somewhere
between 3.50 - 4.90 meters. The LS and RS are two spaced 4011 or in an ORTF
setup.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Description of a 5-channel microphone technique

Jason Corey, University of Michigan, USA
Geoff Martin, Bang & Olufsen, Denmark

0 INTRODUCTION
There are a number of issues to consider when
recording for surround sound. Not only do we want
to optimize imaging and image location, but also the
smooth and even distribution of the reverberation
around the listener and a cohesion of the front and
back components of the sound field. The main idea
behind a 5-channel microphone technique is to
capture the entire acoustic sound field, rather than
to simply present the instruments in the front and
the reverb in the surrounds.

1 RESPONSE OF A MULTICHANNEL SYSTEM

AT THE LISTENING POSITION
In order to consider the response of a microphone
array, we must first consider the response of the
playback system. It is important to remember that
the response of the front and rear loudspeakers are
very different at the listening position. For example,
there is far more interference at the ears of the
listener between the signals from the Centre and Figure 1: Standard loudspeaker configuration for a
Left or Left and Left Surround loudspeakersthan five-channel surround sound system.
there is between the signals from the Left and Right,
or Left Surround and Right Surround drivers. The 2 DESCRIPTION OF THE CONFIGURATION
principal result of this interference is a comb filter This tree was developed using an adequate
effect caused by the lack of attenuation provided by separation between specific pairs of microphones to
head shadowing. prevent interchannel interference. At the same time,
it relies on the response of the loudspeakers at the
In order to reduce or eliminate this comb filtering, listening position to permit closer spacing, and
the microphone array must ensure that the signals therefore a smoother distribution of the sound field
produced by some pairs of loudspeakers are for the rear pair of microphones. The configuration
different enough to not create a recognizable consists of three front-facing subcardioids and two
interference pattern. This is most easily achieved by ceiling facing cardioid microphones as is shown in
separating the microphones, particularly the pairs Figure 2. The approximate dimensions of the array
that result in high levels of mutual interference. At is 60 cm between the Centre subcardioid and the
the same time, however, you must ensure that the Left and Right subcardioids, 60 cm between the
signals are similar enough that a coherent sound front microphones and the surround pair, and 30 cm
field is presented. If the microphone separation is between a pair of cardioid microphones aimed
too great, the result is five completely unrelated upwards. If desired, the Centre microphone can be
recordings of the same event, which eliminates the moved slightly forward of the Left and Right mic’s to
sound image continuity or fusion between channels. an approximate maximum of 15 cm.
With optimal microphone spacing, the signals from
the five loudspeakers work together to form a single
coherent sound field and we no longer hear them as
five individual signals.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

The width of the front array is determined by the

size of the ensemble being recorded or by the
desired level of inter-channel coherence. For a
larger ensemble, a wider array (up to 180 cm) is
likely necessary. Where a narrow spacing (120 cm)
is appropriate for a small ensemble. A wide spacing
will reduce the amount of coherence between the
front three channels, thereby reducing the image
fusion between the loudspeakers. The amount of
coherence between the front and surround images
can be partly determined by the spacing between
the front and rear microphones.

For the surround channels, aiming the surround

cardioid microphones to the ceiling has two
Figure 2: Dimensions of the configuration. The L, C advantages. First the direct sound from the
and R microphones are forward-facing ensemble is attenuated because it is arriving near
subcardioids. The LS and RS microphones are the null of the polar pattern. This is also true of
typically ceiling-facing cardioids, but may be angled audience noise in the case of a live recording. That
slightly to the rear, away from the stage. being said, any direct sound that is picked up by the
surround microphones helps to create some level of
3 RESPONSE OF THE MICROPHONE coherence between the front and surround
CONFIGURATION channels. The front-back coherence provides an
A subcardioid microphone is theoretically equivalent even spread of the sound image along the sides of
to coincident cardioid and omnidirectional the loudspeaker array. The level of front-back
microphones whose signals are mixed at equal coherence can be adjusted by changing the angle
levels. By using subcardioid microphones we are of the microphones and therefore controlling the
getting a wider pick-up than is typical with cardioid amount of direct sound in the surround channels.
mics, with a higher directivity than omnidirectional Second the often ignored vertical dimension of an
mics. In this way, the microphones can be placed acoustic space provides diffuse signals that are
further away from the ensemble than ideal for the surround channels. For instance, when
omnidirectional microphones for an equivalent direct listening to live music in a concert hall, we hear
to- reverberant ratio. The important point is that we sound arriving from all directions, not only the
still want to have a certain amount of diffuse, horizontal plane.
reverberant sound in the front channels that will
blend with the direct sound and with the reverberant The microphone array allows for a large listening
signals produced by the surround channels. The area in the reproduction system. Even when a
direct-to-reverberant ratio can be adjusted by listener is seated behind the sweet-spot, the front
changing the distance between the microphone image of the direct sound will remain in the front
array and the sound source. and will not be pulled to the rear, despite the listener
being closer to the rear loudspeakers.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

A Five-Microphone Technique for Music Recording

in a Large Venue
Richard King
Sony Music Studios
New York, USA

0 INTRODUCTION surface of a sphere, which yields an omnidirectional

This five – microphone configuration has been response up to 1KHz, and cardioid above 1 KHz.
developed for the multi channel recording of a large
ensemble in a venue such as a concert hall or a An optional pair of wide L/R omnidirectional
large recording studio. The aim of this technique is microphones may be added to this configuration
to achieve a natural impression of the acoustic (see fig.1). This extra pair is not required to
space. While the result is not perfectly accurate in complete the configuration, but it can be used to
terms of phase and image, it does yield a very increase low frequency directivity across the front
warm, pleasing result with a very large sweet-spot array, and to adjust the overall width and blend of
(optimized listening position), and a great sense of the ensemble. These microphones would be mixed
envelopment. into the front L/R channels at a level 5dB to 15dB
lower than that of the main microphones.
1 LOUDSPEAKER PLACEMENT FOR
PLAYBACK 3 THE RESULT
This technique has been developed and refined The use of omni directional as opposed to cardioid
using the ITU Standard for loudspeaker microphones allows the configuration to be placed
configuration, which suggests angles of incidence of very close to the ensemble. This creates front
30º between center and each of left and right, and channels with great dynamic/ transient response
100º - 120º between center and each rear speaker, and clarity, combined with a good direct-to-
with all loudspeakers set at equal distance from the reverberant balance (which can be adjusted by
listening position. The microphone type is the dpa changing the height). Omni directional microphones
4006 (or 4003) omnidirectional microphone. also yield greater low frequency response (warmth).
The use of spaced microphones generates time-of
2 THE FIVE-MICROPHONE CONFIGURATION arrival differences between the five channels, which
This configuration is primarily used for orchestra enhance the overall sense of envelopment for the
recording, but can be adjusted for smaller listener. The width of the array should be adjusted
ensembles as well. Rather than the typical Decca to meet the size of the ensemble, and as the L/R
Tree setup, this technique utilizes a combination of microphones are moved further apart, the level of
a Left/Right pair of microphones with a third center the center channel should be increased accordingly.
microphone on a separate stand. The placement of As the center microphone is moved farther into the
the center microphone position can thus be ensemble, the center channel level should be
adjusted, usually placed deeper into the ensemble lowered accordingly in order to preserve depth of
than the typical equal spacing of the Decca Tree’s image.
Left/Center/Right (see fig.1). The Left/Right pair is
normally placed 20 cm - 3.3 m behind the The five microphone configuration utilizes low
conductor’s podium, 1.3 m – 2.6 m apart, and 2.6 m frequency correlation that is offset by the natural
– 4.3 m high. The center microphone is typically 20 time delay which relates to the distance from the
cm lower in height than the L/R. front L/R to the rear L/R. This front to back
relationship is however, de-correlated in the mid
The surround microphones (LS & RS) are fitted with and high frequencies, which keeps the image of the
spherical diffraction attachments, and are positioned ensemble in the front speakers, even if the listener
3.6 m – 5 m behind the main L/R, 2 m – 3 m apart, moves out of the sweet spot towards the back of the
4-6 m high, and facing away from the ensemble. listening environment.
The attachments place the diaphragm on the

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Timp
Perc L Perc R

Horns Woodwinds Brass

Violin II Violas
Cb
Violin I Cellos
P
O
Opt Wide L Opt Wide R
D

Figure 1
Richard King, Sony Music Studios, New York

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Practical Surround Microphone Techniques

Mike Sokol with Hector La Torre
Fits & Starts Productions, USA

0 INTRODUCTION
Surround microphone techniques can be divided
into at least several different categories, depending
on the psychoacoustic principles used to generate
the perceived surround field. These include: 1)
coincident arrays; 2) near-coincident arrays; and 3)
spaced-arrays

This paper will explore two separate ambient

surround-miking techniques as well as a way to
combine ambient and close mics within the same
recording. In contrast to close-miking/multi-track
productions, which can be panned and steered via
joysticks and dedicated front/rear pan pots or joy-
sticks, ambient room techniques provide more “air”
around each sound source, and thereby present a
more realistic sound field.

1 VSA TREE™
Spaced surround techniques for 5.1 surround
typically uses five cardioid pattern mics spaced in
an approximation of the playback speaker
configuration. The sixth “point one” channel is
usually provided by a low-passed output of one of
the mics. While there is some benefit to far-spaced
techniques where the rear “surround” mics are
positioned in the rear of the room, a more cohesive Figure 1. The VSA TREE.
soundfield is produced when all the microphones
are positioned within a few feet of each other in a The individual boom arms are adjustable for angle
near-coincident array. From our own experiments, it as well as distance, and the mics can be rotated as
seems that an array of three front mics spaced desired. Also, by attaching all microphones to a
approximately 12 inches from each other, and two common space frame, as compared to using five
rear mics spaced approximately 24 inches from the separate stands, the VSA Tree can easily be tilted,
front mics and each other, provides a good balance turned and adjusted in height. Both side-address
between front/rear separation while limiting down- and end address mics can be used with this type of
mix phase cancellation problems. There are a array holder, and it can be stand-mounted or flown
number of published papers on the “correct” above a stage as desired. We have done dozens of
positions of mics in this type of array. There is, acoustic recording with this array over the last year,
however, still much “cut and try” recording to be and have been pleased with the overall coherent
done before the final word is written on spaced surround field. The Patent Pending design is not for
arrays. the microphone technique itself, but rather for the
design of the folding/adjustable array.
That said, as a recording and demonstration aid for
the Fits & Starts Productions, LLC surround sound 2 FLRB ARRAY & MATRIX
seminar tours (see ModernRecording.com- Another variation on surround ambient miking is to
/seminars), I designed a VSA Tree™ (Variable use a coincident array of some sort. Coincident
Space Array™), which allows matched cardioid arrays naturally have the advantage of less phase
microphones to be positioned in a variable but cancellation issues during downmix situations, but
repeatable array (see Figure 1). generally have less “air” around the instruments due
to a lack of temporal cues as found in near-

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DPA Microphones workshop on mic techniques for multichannel audio
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coincident arrays. Still, they offer a great amount of

flexibility in post production. Unfortunately, The key to making the FLRB Array™ work is the
dedicated surround coincident arrays can be quite FLRB Matrix™. The raw (F)ront, (L)eft, (R)ight,
expensive, costing up to $15,000 for the mic/pream- (B)ack mic channels are not useful simply as they
plifier/matrix combination. The remedy was to are recorded. These F-L-R-B tracks need to pass
develop a less expensive solution that offered many through a FLRB matrix to be converted into an
of the same advantages of a dedicated coincident ambient surround sound field. Fortunately, the math
array, but which could be accomplished using four, is quite simple. Here are the basic principles of
small-capsule cardioid mics in a special holder. operation.

The four channels designated as (F)ront, (L)eft,

(R)ight, (B)ack can be matrixed into mono, stereo,
LCR, LCRS, 5.1, 6.1, 7.1 and even 8.1 surround
with a simple sum/difference surround matrix.

Figure 3. The FLRB array.

The FLRB array can be realized with four standard

length end-address mics, or by using four DPA
compact mics in a pair of X-Y holders.
(See Figure 4)

Figure 2. The FLRB array.

In the FLRB array, the L and R capsules are used to

generate this figure-8 “side” mic. There is also a
front-facing mic labeled F and a back-facing mic
labeled B. Now imagine the (L)eft and (R)ight
microphones are inverted and summed together to
form a (S)ide figure-8 signal internally. As in a
standard M-S stereo matrix, this (S)ide signal can
be added and subtracted from the (F)ront facing mic
capsule to feed the front Left and Right stereo
speakers. The (F)ront mic channel can then be
used to feed the Front-Center speaker in LCR
systems. Extrapolating further, the (R)ear facing mic Figure 4. The FLRB array with DPA compacts.
could be used to produce a mono rear sound field
and fed to the mono rear speaker channel for LCRS So the original four F-L-R-B channels can be
surround. The derived (S)ide figure-8 signal can be matrixed in post-production to mono, stereo, LCR,
added and subtracted from the (R)ear mic channel LCRS, 5.1, 6.1, 7.1 or 8.1 surround as desired in
to feed the stereo rear speakers for 5.1 or 7.1 post production. Of course, a hardware version of
surround. Finally, the original (L)eft and (R)ight mic the FLRB matrix would allow a FLRB Array to be
channels can be used to feed the Left and Right used for live broadcasts of things like sports events
side speakers for 7.1 surround. If a point-one (.1) and acoustic concerts.
LFE channel is actually required, a simple low-pass
filter at 80 Hz to 120 Hz could be used to generate
the appropriate LFE information.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Swan Lake in 5.1

Hans Evers
Sound supervisor, SVT, Sweden

0 INTRODUCTION
This describes a 5.1 set up and the mix as it was All four microphones were attached to the side
carried out for the TV-production of the Swan Lake,
a ballet with music composed by Tchaikovsky, and
performed by the Royal Swedish Ballet.

The performance took place in the Royal Opera

House in Stockholm, Sweden. The television
production was made for the BBC.

The dance was performed on the stage of the

opera. In front of the stage a 54-musician
symphonic orchestra was placed in the ditch.

1 SET UP AND MIX FOR THE DANCE

All the stage microphones were mixed to the centre
channel except for the two outer microphones.
These microphones were panned almost max left or
right, but were only applied for entries and exits.

The shotguns covered the rear part of the stage.

In the mix a maximum of two microphones at a time

were used, and no reverb was added to these.

2 SET UP AND MIX FOR THE MUSIC

The mix of the orchestra was a fairly normal 3-
channel stereo mix. Everything from the ditch was
directed to the front (L, C and R).
lamps and were for a start directed downwards.
This provided too much direct sound from those
3 SET UP AND MIX FOR THE AMBIENCE
seated nearby. Then the microphones were directed
Two permanently installed cardioid microphones are
upwards. The result was more even sounding
suspended above the stage
applause from the audience as well as a nice
reverberation.
These microphones provided a nice balanced
orchestral image with much reverberation. The input 4 ADDITIONAL REVERB
from these microphones was panned the extreme
For the orchestral sound two reverb devices were
left/right. In the surround image this appear into the
used in the mix.
room. No additional artificial reverb was added.
One was dedicated for the front speakers. The other
In the box a set of cardioids in X/Y-configuration
was dedicated for the space between front and rear.
(100° opening angle) provided nice reverb and
ambient sound from the audience. These 5 LFE
microphones picked up less sound from the Approximately 2 minutes before the end of act 3 a
orchestra than one would expect. explosion occurs. The LFE-channel was used for
that one.
The two pairs of cardioids in the audience area are
both panned maximum L/R. The rear pair is solely
reproduced in LS and RS. The other pair is
reproduced halfway between LS/RS and L/R.

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Stage

Operans mik ar i "kappan"

Cardioid Cardioid Box

Cardioid Cardioid
Cardioid C ardioid
Box
Shot gun
Shot gun
Tam
Gl Cardioid
Fg Snare
Cardioid
Ob
Cardioid
Cl
B as P uk
Fl Cardioid
Omni Horn
Trp
Harp KM8

Cardioid 2
Cell Tuba
C ardioid Cardioid Trb
1 Br Cardioid

Main L Main 1/2R Main R

Main 1/2L O mn
O mni O mni Omn

C ardioid Cardioid

A udience

Cardioid C ardioid

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Capturing Continuous Phantom Image in a Four

Channel Microphone Array
Gary F. Baldassari
Incorporated Magi
Holmes Beach, Florida, USA

0 ABSTRACT image. With the addition of the rear speakers we

The inter channel relationships created by a have created the framework for multi vectoring of
standard AES/ Dolby [ITU 775-1] the sound source and thus phantom everywhere or
5.1 surround monitoring system can be excited almost everywhere can be achieved in the
during the recording process to reproduce an horizontal plane. This includes components of direct
accurate and continuously variable phantom image sound, early, mid, and late reflections as well as
from a sound source in the horizontal plane. This reverberation, refraction, and diffraction. It is now
monitor system will be full range and bass pointed out that the pinnacle achievement in
management will not be used. The number of surround sound will not happen until we add the
microphones needed to create this effect is four. vertical plane, but that is beyond the scope of this
paper.
1 INTRODUCTION
The vertically aligned Total Vectored Square 2 SOUND SYSTEM DESIGN
microphone design developed by Joe Grado in The playback system will be an AES/Dolby [ITU
1997 can be adjusted to the horizontal plane and 775-1] calibrated standard 5.1 reference audio
can produce a continuously variable phantom image monitor system. The calibration will be achieved by
for 5.1 surround. That original design was created a DPA Microphones 4004 / HMA4000 and DK Audio
for a forward plane of vertically and horizontally MSD550 analyser using shaped and linear pink
aligned audio monitors in a square array. Since the noise suggested by Dolby. The AES/Dolby [ITU
current 5.1 monitor systems are really of trapezoid 775-1] standard monitoring standard can be
design, the rears can be stretched wider to comply accomplished by many modern designs from many
appropriately (about 30 degrees). Since the stretch manufacturers. This can be from very small and
from a square in the rear monitors is used to inexpensive all the way to studio and audiophile
achieve coincident arrival times to the human ear at grade. The more open (closer to omni) the speakers
playback, a stretch in the Total Vectored system is, the farther outside the monitoring
microphones placement is of artistic control. Closer environment the effect will be achieved.
in together intensifies the rears, farther apart
diffuses them. It will be demonstrated that this 3 TEST PROCEDURE
phantom image can be captured automatically in a The microphone system must consist of four perfect
continuously variable apparition that is reproducible and/or near perfect omni directional microphones
inside and partly outside the Total Vectored placed in a square or trapezoid. A Brüel and Kjær
Trapezoid or Square. When the continuous 4230 acoustic sound level calibrator will be used
phantom is achieved, the result of the addition of producing 94 dB @ 1 kHz to first balance the
the centre microphone is vestigial and dubious in microphones in an anechoic environment. The size
nature. This will simplify field acquisition and will of the square is determined by the type and size of
reduce the need for five and six channel tracking. A the sound source and acoustic environment. A
four-channel system such as a common DigiBeta is square as small as eight inches is capable of
all that is needed since the LFE can be derived in capturing a large event or can be added to the
post via several extracting techniques. On site inside of a larger square that encompasses the
encoding is also possible and this will reduce the event.
need to two channels.
The acoustic calibration of the microphone grid can
Standard stereo never quite achieved the ability to be accomplished by the use of a children’s toy
capture a sound source close enough to reality due clacker. The test subject takes the clacker [impulse
to the fact that two channels cannot recreate a real generator] in hand and makes a series of clacks
3D event, just a pseudo impression of it. Stereo defining the epicentre. Then, from the centre of the
however did usher in the era of the phantom centre capture point starting at 12:00 spends at least five

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

clacks and a pause at each of the hours. When the and not a playback system. In phase coupling plus
12 hours of the clock are reproduced from forward multi point vectoring can simplify the process of re
to reverse (clockwise and counter clockwise) and creating the event stage environment with reduced
back again we are ready to begin. Correction for reverberation requirements. Definition enhancing
many acoustic anomalies from the real world can be spot mics will add to the project and protect from
achieved in post production via level simple level acoustic anomalies that might smear the very
adjustment. The clacks should be reproduced inside. These spot mics can be singularly placed
exactly as a mirror of the original acoustic event. A microphones of omni, cardioid, hyper cardioid, or bi-
top notch calibration single for 5.1 can be produced directional designs. The farther you go from the
at this time for future reference. omni polar response in the spot mics the more you
are redesigning the sound. This is the place for
4 MICROPHONE CAPTURE DESIGNS colorizing the individual instruments. For instance
The DPA 4060 series is the easiest and most the figure 8 or bi directional mic will create vacuum
affordable system you can use. There are three effect in the surround field with its negative side.
versions of sensitivity and sound pressure handling Which side that occurs on is of your design. Of
capability available to apply to each circumstance of course the channel polarity can be flipped either
level and sensitivity. (4060, 4061, and 4062) way, this can be very useful. The first thing to do in
post production is calibrate the field and determine
If more resolution is desired and a lower self-noise a which instruments are occluded or smeared by the
switch to standard omnis series 4006 or 4003 with recording acoustics. Things like Piano lids and
UA0777 nose cones is required. people affect this also. The spot mics can then be
panned over their original capture point and the
If super high SPL, impulse, or percussive is image intensified without a lot of work. Delay may
expected the DPA 4007 or 4004 can be employed. be used to clarify the image. You will find
equalization and compression will be used much
Alignment of the diaphragms with the 4060 series is less than with stereo. The center channel sits
unnecessary due to the pure perfect omni response vacant waiting to be elevated to a higher purpose.
of the microphone. With the 4006/4003 and UA0777 When that happens we then can elevate a fifth mic
nose cones we have found that vertical alignment forming a forward pyramid and yielding vertical
(pointed straight up) is very reliable. The 4007/4004 vectoring.
in the high SPL situation also seems to work best
being vertically polarized. It is worth the chance of 6 MONO COMPATABILITY
crossing pointing the diaphragms to intensify the The four microphone array folds down to stereo
center of both 4006/4003 and 4007/4004. enhancing it. The folded down stereo resultant
collapses down to mono enhancing it. In every test
5 PERCEPTION that we have performed from Ambiance, to Jazz
The perceivable results are the lack of need to be in trio, to Big Band, to Orchestra, to Sports sound
the sweet spot of any kind. A conceivable surround effects we have not found one instance of mono
field is produced that is very similar to the real one. incompatibility. Instead the mono depth and the
In fact the feeling of reality is apparent anywhere in stereo special qualities are increased adding to the
the vicinity of the monitoring system to the point dimension of both.
where most people think there is a band in the room

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DPA Microphones workshop on mic techniques for multichannel audio
AES 24th International Conference in Banff, Canada, 2003

Figure 1A Figure 1B

Figure 2 Figure 3

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