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NOLAfishwater

Stereo Mounts for Schoeps, DPA, and Busman Microphones

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These mounts are custom made and can be used with any shockmount that accommodates 20mm diameter. They are compatible with the following microphones that utilize remote cables:

SCHOEPS KCY/KC5/CMR with MK capsules and CCM ug/lg

DPA Lemo style 4023/4028/4053

BUSMAN BSC2 http://www.busmanaudio.com/bsc2.htm

PRICES INCLUDE SHIPPING

NOS 30cm 90 degrees $70

DIN 20cm 90 degrees $65

DINa 17cm 90 degrees $60

ORTF 17cm 110 degrees $60

Vertical Address or A/B with spacings at 17cm and 20cm $70

MidSide at 0 degrees $65

A/B or Vertical Address w/ Spacings at 36, 43, and 51cm $100

ORDERING INFORMATION:

Please email me at nolafishwater @ live.com with what you want to verify stock.

NOLAMOUNTS.jpg

ORTF (17cm @ 110°)

The French Radio Organization developed this technique. A high quality, matched pair of cardioid condenser microphones are placed 17 cm apart at an angle of 110 degrees. The ORTF stereo technique uses two first order cardioid microphones with a spacing of 17 cm between the microphone diaphragms, and with an 110° angle between the capsules. This technique is well suited for reproducing stereo cues that are similar to those that are used by the human ear to perceive directional information in the horizontal plane. The ORTF stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information. Care must be taken when using this technique at larger distances, as the directional microphones exhibit proximity effect and will result in low frequency loss. The distance from the sound source will determine the amount of room reverberation. When further away from the source, the recording will result in more reverb and closer placement will have less room sound. ORTF is very popular for outdoor recording where there's not as much reverberant sound as there are surfaces to reflect sound. A good starting placement for an ensemble would be approximately 7 feet away and 9 feet up.

NOS (30cm @ 90°)

This technique was developed by Dutch Broadcasting (Nederlandsche Omroep Stichting). The spacing of the microphones emulates the distance between the human ears, and the angle between the two directional microphones emulates the shadow effect of the human head. If used at larger distances to the sound source the NOS stereo technique will loose the low frequencies due to the use of pressure gradient microphones and the influence of the proximity on these type of microphones. The NOS stereo technique is more useful at shorter distances, for example on piano, small ensembles or used for creating stereo on a instrument section in a classical orchestra. The NOS stereo technique provides the recording with a wider stereo image than XY stereo and still preserves a reasonable amount of mono-information.

DIN (20cm @ 90°)

(Deutsches Institut für Normung)The DIN technique is based on the spacing of the human ears. It is similar to NOS, however the cardioid microphones are 20cm apart and at an angle of 90 degrees. The DIN stereo produces a blend of intensity stereo signals and time delay stereo signals, due to the off-axis attenuation of the cardioid microphones together with the 20 cm spacing. DIN and DIN(a) have the 90 degree angle which reduces the amount of reverberant sound that's coming from bounced sources instead of directly from the source.

DINa (17cm @ 90°)

A modification of DIN which is designed for use with hypercardiod microphones. It still uses the 17cm (average distance between human ears) which helps to create a natural time delay and stereo image. The closer spacing creates a stereo image is more accurate and less reverberant. DINa results show a slight decrease in low frequencies which can be very pleasant for field recording in cavernous or odd shaped rooms.

MIDSIDE

This technique uses two microphones placed close to each other. One microphone has a cardioid pick up pattern and the other with a figure 8 pick up pattern. The cardioid microphone faces the ensemble (this microphone picks up the Middle). The figure 8 microphone is at a right angle to the cardioid (this microphone picks up the Sides). The cardioid microphone is panned to center. The figure 8 microphone is split into two channels and panned hard left and right. The phase of the left remains normal while the right is reversed. By increasing the level of the figure 8 microphone the room acoustics (reverb) will increase. The MS stereo technique is excellent for mono compatibility. This mount requires the use of two rubber rings placed at the end of the mount to secure the microphones in place (see picture for placement).

Vertical or Front Address: 17/20 or 36/43/51

These two mounts are designed for use with the vertical address series (V) or for A-B stereo recordings with front address condenser microphones. The smaller of the two mounts has spacings at 17 and 20cm allowing the user to accurately reproduce the following recording techniques:

• DIN (20cm @ 90°)

• DINa (17cm @ 90°)

• ORTF (17cm @ 110°)

• OLSON (20cm @ 135°)

The larger mount has spacings at 36, 43, and 51cm. It utilizes the principals of the The A-B Stereo Technique, which uses two spaced microphones. The microphone spacing introduces small differences in the time or phase information contained in the audio signals (according to the relative directions of the sound sources). As the human ear can sense time and phase differences in the audio signals and use them for localisation, time and phase differences will act as stereo cues to enable the listener to "capture the space" in the recording, and experience a vivid stereo image of the complete sound-field, including the positioning of each separate sound-source and the spatial boundaries of the room itself. Since the stereo width of a recording is frequency-dependent, the deeper the tonal qualities you wish to reproduce in stereo, the wider your microphone spacing should be. Using a recommended microphone spacing of a quarter of the wavelength of the deepest tone, and taking into account the human ear's reduced ability to localise frequencies below 150Hz, leads to an optimal microphone spacing of between 40 and 60 cm. Smaller microphone spacings are often used close to sound-sources to prevent the sound image of a particular musical instrument from becoming "too wide" and unnatural. Spacings down to 17 to 20 cm are detectable by the human ear, as this distance is equivalent to the distance between the two ears themselves. A user can also use the larger mount with the Vertical Address capsules when recording on stage or from distance. This technique creates a large sound stage and helps to capture the feeling of the room. The large 36/43/51 mount requires the use of one rubber ring per side to secure them in place (see picture for placement).

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