This would probably not be a problem when listening on loudspeakers, but on headphones, conventional coincident-pair stereo isn't that wonderful and anything with a time-of-arrival difference (like binaural) will of course create a very different sound. On headphones, if you had conventional, coincident-pair (or m&s) recordings, having a binaural recording in the mix would give you very weird images where you'd hear the stereo quite close to your head, with the binaural as another layer of sound "way out there" in the distance.
Binaural mic techniques seemed to be able to pick up sounds that were very far away - can't explain this except that the technique allowed you to locate / hear very distant sounds - frustrating if you were trying to isolate one sound and there was something else happening way off in the distance.We were also of course using coincident-pair stereo, which became interesting when people used both in the same production. I did a lot of binaural recording in my BBC days as a sound effects and drama recordist, as in the 1990s at the BBC there was a temporary fad for doing things in binaural. Most Hollywood productions have their sound build from scratch. I also agree with a lot of sound is foley created in a studio. Here is a link to a German dealer who tested a bunch of cheap recorders and provides sound samples of different soundscapes. For the low price of that recorder the 3D sound image is quite impressive! I would recommend you to give it a try. Recently I bought a Zoom H2n recorder which records a 4 channel signal of MS and XY. If you are looking for a similar quality for a lesser price with a bit less technical finesse check out the Oade Brother modified recorders: We used a Sound Devices recorder which is top of the line and quite expensive. Double MS would be interesting but gets even more expensive and requires at least a three track recorder. So I started looking at stereo microphone and remembered the Mitra with philip For my last documentary I recorded some MS stereo which required quite an expensive boom set up and it is still just stereo.
Panasonic wm 61a binaural mics how to#
But no one put emphasis on those surrounding sound and how to capture them. Every-time we hear how we should get a shotgun microphone for outside dialogue and a cardioid for inside one.
Panasonic wm 61a binaural mics movie#
What it told me was how much the ambiance sound was important for a movie and how indie films lack it and sounded hollow. The sound is so tri dimensional and can really feel there.
One example like this one had a car and very common sound for a movie, and I thought I was at the Cinema. Searching for samples, I ended on a set of nature recordists samples in stereo and was really immersed in the audio. So looking at different solution, I found one serious candidate in the Olympus Ls-100. I have been looking a lot, or I might say listening a lot to audio lately after my choice of buying sound devices mixpre-D has fallen because BH does not ship SD gear anymore outside USA.
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