Sound Engineer, Doug Ferran explained …

“In 2017, I asked some friends to help me in an experience, comparing the traditional multi -mic de recording with a single mic version of the same performance.

Single Mike Recording (B), I chose the AEA R88 stereo ribbon microphone. It consists of two ribbon microphones in the same residence, based on 90 degrees. This is called ‘Bloomalin’ Configure, when EMI engineer Alan Bloomlein developed it in the 1930s as part of a stereo recording and re -producing system at the Abbey Road Studios.

I used various ribbons and committees microphones for a multi -mic de version (A). They were kept close to the equipment and the singer, as is most common in the studio recording session. Both sets of microphone were recorded simultaneously.

In my ear, single mic recording has a charming harmony and comfortable standard. The multi -mic version is more traditional sound. The listener has to decide which recording procedure they prefer. But to me, the single mic version is more compelled by them.

From a practical point of view, it takes a long time to set a single mic recording. Actors need to move closer to or away from the mic to achieve the proper balance, and to be developed in a way that provides a pleasant stereo image. Most recording sessions require a rapid setup, so it is often non -practical to spend the good Single Single Mike recording. Once the recording begins, there is no way to change the balance of the equipment, so they have to be corrected from the beginning. Players will also have to be able to play a complete game defectively, which later puts pressure on the unruly elimination of their parts.

Recorded Information matters: Recognizing the recording with certainty

Link Witz Audio’s CEO, Frank Brnener, two recording techniques and how they affect how the loudspeaker developer can follow the ‘absolute sound’.

“When we look for the least and a microphone recording qualities, we miss the everlasting standards of art Bulki. Spirint And the main work of Rudy Van Galder. Their legacy remains in the recording that remains the same as the hearts of audio files and comfortable audience, which proves that sometimes, the easiest point of view can lead to deep experiences in music.

The art of authenticity

The detection of our minimum recording techniques resulted in enlightened demonstrations with the audience of Expona 2024.
Experienced sound engineer Doug W. Ferran taught audio file audiences in the link witz parlor talk, which offered two versions of the same performance through singer Tom Machantier’s band:

Was caught with a traditional multiple microphone (A)

Was recorded using another one microphone (B)

The difference was clear to all listeners, which can easily distinguish between the two. What is noteworthy is that most participants have expressed their preference for the ‘B’ recording Sound Stage Presentation, which was played by the link Witz Lx521.4mg Speaker.

This priority indicates the compulsive nature of a minimum and a microphone recording and the ability to convey the ability to spread the more authentic and interesting sound stage, which resonates with the audience seeking purity in musical regeneration.

And what is the negative aspect of the minimum recording technique?

As recording engineers have pointed out, when large groups or even the symphonic orchestra must be captured and the conductor insists on post processing, such as re -balanceing devices. This is practically impossible. In addition, it takes more time to set up music and gear with sensitivity. But, when it comes to the grip of small groups in intimate places or well -balanced orchestra, I would love to listen to more recording like them, where simplicity is a challenge for achieving authenticity.

Abstract

The difference that Frank has described is important because a simple (‘Bloomlein’) has a better phase information on technique recording. This information is how stereo (invented/patented by Bloomlene, BTW) then explicitly presented the musician’s positions and how the environment -based sound space can be presented. Even without the Bloomaline Mike technique, stage information is on recording and is important for realism. Speakers and rooms are important to the final results, but most importantly, how they distort the information already in the recording. When we say, “These speakers make a picture well,” we really mean, “these speakers did not eliminate the recording imaging information.” We hope that these short tracks make this concept a bit more attractive.

‘A’ recording:

Recording ‘b’:

If you like to download every track, you can do it here:

‘A’ recording

Recording ‘b’