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MIR PRO Main- and Secondary-Microphone-Questions
Last post Sun, Jan 10 2021 by Dietz, 2 replies.
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Posted on Sun, Jan 10 2021 02:39
by Jan1981
Joined on Wed, Mar 16 2011, Posts 25

Hey,

I have some questions on how the micropones in MIR work.

1) As far as I read it, the Sec-Mic does not contain any spatial information. But what does it contain? does it have a distant depending delay?

2) Can there be phasing issues, when the signals from the Main-Mic and Sec-Mic are merged in MIR?

3) At which virtual hights are the main and sec mics situated (e.g. in Grosser Saal).

4) Does it make sense, to put the Sec-Mic ABOVE an Orchestra and the Main-Mic infront of it? I tried that and I found, that it had a full, dense sound, but at the same time, it sounded a bit strange (I cannot clearly say, what it is; maybe a time-synchronisation problem, when putting the Sec-Mic before the other?)

Thanks, Jan

Posted on Sun, Jan 10 2021 10:22
by Dietz
Joined on Tue, Aug 06 2002, Vienna / Europe, Posts 7539

Hi Jan,

interesting questions which aren't covered by the manual in its entirety.

Originally Posted by: Jan1981 Go to Quoted Post
1) As far as I read it, the Sec-Mic does not contain any spatial information. But what does it contain? does it have a distant depending delay?

It's actually the other way 'round: The Secondary Mic contains _only_ spatial information, i.e. wet signal. The Main Mic's setup is also responsible for the spatialisation of the dry signal components. This is also reflected graphically by the Secondary Mic's icon on a MIR Venue's stage: Its capsules are outlined only (... the opacity of the white filling stands for the volume of the dry signal "captured" by the capsule). 

You can check the Secondary Mic's output by selecting the dedicated "MUTE"-preset for the Main Mic.

Quote:
2) Can there be phasing issues, when the signals from the Main-Mic and Sec-Mic are merged in MIR?

There _could_ be issues when you choose the same recording position for both (e.g. "Conductor") and use different RoomEQ settings. But you won't gain a lot by doing so anyway, because you could always add capsules to the Main Mic to achieve the same effect with better manageability.

The idea of having a Secondary Mic at all is to use a _different_ position for better and more decorrelated spatial enveloping, and/or for dedicated surround mics. (That's why the Secondary Mic doesn't contribute to the dry signal created by MIR Pro, because mixing _these_ would most likely exhibit severe phasing issues.)

Quote:
3) At which virtual hights are the main and sec mics situated (e.g. in Grosser Saal).

The height used for recording is always 2.5 meters above floor level (with one or two exceptions). That value is used for the Ambisonics-decoding process in MIR Pro, too. There is no actual "height"-parameter which could be changed by the user, though.

Quote:
4) Does it make sense, to put the Sec-Mic ABOVE an Orchestra and the Main-Mic infront of it? I tried that and I found, that it had a full, dense sound, but at the same time, it sounded a bit strange (I cannot clearly say, what it is; maybe a time-synchronisation problem, when putting the Sec-Mic before the other?)

I'm not sure that I understand the term "above" in your question. You mean closer to the stage? This is something that will most likely sound - uhm - "interesting", because the reflection patterns of the room will indicate a closer position than the actual instrument positions determined by the Main Mic. - But you know: If it sounds right, it _is_ right! ;-)

/Dietz - Vienna Symphonic Library
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