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An Explanation of Various Surround Microphone Techniques by Toru Kamekawa

<Front side> The original method uses


Neumann M50 mics for the
L,C.R positions.
Neumann M50 has directivity
above 2kHz using spherical
globes.

Two omni directional


microphones on the outside
locations.

<Rear side>

The method invented by Mr.


Fukada of NHK ( Japan
Broadcasting Corporation,
Japan) arranges five cardioid
microphones for L,C,R,LS,and
RS, and two omni directional
microphones.

The distances between


microphones are set to Critical
Distances.

This is the method that Mr.


Fukada used in an AES surround
experiment at The Symphony
Hall, Osaka, Japan, in
September, 2006.

It uses omni directional


microphones (DPA4006) for L, C,
and R. For LS and RS.

Increased directivity in the high


frequencies is accomplished by
using an acoustic pressure
equalizer ball (L50).
This is the method proposed by
Polyhymnia International (former
Phillips Classical).

Omni directional microphones


are arranged according to the
loudspeaker arrangement as
defined by ITU-R BS775.

This is the surround version of


INA3. The initials mean "Ideal
array of cardioid microphones" in
Flemish, the Dutch language.

This microphone arrangement is


based on the William Curve by
M.William.

(L-R angle is 180° as shown in


the left arrangement. )

This method is invented by Mr.


G.Theile of IRT, a broadcasting
laboratory in Germany.

The influence of the sound from


the opposite side is reduced.
Omni directional microphones
are used for compensation of the
low frequency response (under
100 Hz) when using
super-cardioid microphones.
This is the surround version of
OCT.
The recording angle is changed
by adjusting the dimension “b”
(Distance between L and R).

The recording angle is 110° when


“b” is 60cm.
The recording angle is 90° when
“b” is 80cm.

This method uses two omni


directional microphones for L and
R, and a figure-eight microphone
for C.

The omni direction mics provide


a rich and extended impression
with ample bass response. The C
channel figure eight provides
stablization.

This is the surround version of


Omni+8.
In case of significant sound
reflections in the room,
figure-eight microphones might
be used for LS, RS.
Two cardioid microphones and a
figure-eight microphone faced
sideways make four channels
with the following equations:

L=Mfront+S, R=Mfront-S
Ls=Mrear+S, Rs=Mrear-S

This is a microphone array for


capturing ambience designed by
Mr. G.Theile of IRT, a
broadcasting laboratory in
Germany.
The four microphones are routed
to L, R, Ls, Rs as seen.

This is the method for capturing


ambience designed by Mr.
Hamazaki of NHK (Japan
Broadcasting Corporation,
Japan)).

Four figure-eight microphones


are arranged in a square.
Reflected sound from each
sidewall minimizes the influence
of direct sound from the front.
Four omni directional
microphones are arranged in a
square.

This is the method based on the


idea of "Ambisonic" designed by
Mr. M.A.Garzon. It gets surround
sound from three dimensions of
the performance space.

A-Format: Four cardioid


microphones are arranged at
FU(front upper), RU (rear upper),
LD(left lower) , and RD (right
lower).

B-Format: Three omni directional


microphones and three figure
eight microphones are arranged
in the direction of X(front),
Y(side), and Z(height).
Two figure-eight microphones
(CCM68) are arranged on both
sides of each of Schopes
(KFM360) facing the front.

L=L(KFM) + L(CCM68)

R=R(KFM) + R(CCM68)

LS=L(KFM) - L(CCM68)

RS=R(KFM) - R(CCM68)

Toru Kamekawa profile:

In 1983 he graduated Sound Design studies at the Kyushu Institute of Design, and
entered NHK(Japan Broadcasting Corporation, Japan).

After being engaged in audio program production, he then took charge of the musical
programs of the NHK Symphony Orchestra, Tokyo concert etc., involving research of
new recording production techniques like 5.1 surround, etc. for high-definition television.

He assumed the position of the associate professor of Department of Musicology at


Tokyo University of Arts in October, 2002. He is teaching and researching of the sound
and the recording technology as a professor now.

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