![]() At 70 cm distance it is about equivalent to the pickup angle of the near-coincident ORTF-setup. If you increase the distance between the microphones you effectively decrease the pickup angle. According to Eberhard Sengpiel this is enough to locate the sound source exactly at the speaker on the respective side, resulting in a stereophonic pickup angle of 180°. At a distance of about 50 cm (0.5 m) the time delay for a signal reaching first one and then the other microphone from the side is approximately 1.5 msec (1 to 2 msec). ![]() This uses two parallel omnidirectional microphones some distance apart, so capturing time-of-arrival stereo information as well as some level (amplitude) difference information, especially if employed in close proximity to the sound source(s). The sonic image produced by this configuration is considered by many authorities to create a most realistic, almost holographic soundstage.Ī-B technique: time-of-arrival stereophony When the microphones are bidirectional and placed facing +-45° with respect to the sound source the X-Y-setup is called a Blumlein Pair. Due to the lack of differences in time-of-arrival / phase-ambiguities, the sonic characteristic of X-Y recordings is generally less spacy and has less depth compared to recordings employing an AB-setup. A stereo effect is achieved through differences in sound pressure level between two microphones. Here there are two directional microphones at the same place, and typically pointing at an angle 90° or more to each other - see also "The Stereophonic Zoom" by Michael Williams. Various methods of stereo recording X-Y technique: intensity stereophony 1.4 Near-coincident technique: mixed stereophony.1.3 M/S technique: Mid/Side stereophony.1.2 A-B technique: time-of-arrival stereophony.1.1 X-Y technique: intensity stereophony.This phenomenon is known as phase cancellation. Since each microphone records each wavefront at a slightly different time, the wavefronts are out of phase as a result, constructive and destructive interference can occur, if both tracks are played back on the same speaker. Stereo recordings often cannot be played on monaural systems without a significant loss of fidelity. During playback, the listener's brain uses those subtle differences in timing and sound-level to triangulate the positions of the recorded objects. The two recorded channels will be similar, but each will have distinct time-of-arrival and sound-pressure-level information. The electronic device for playing back stereo sound is often referred to as "a stereo".ĭuring two-channel stereo recording, two microphones are placed in strategically chosen locations relative to the sound source, with both recording simultaneously. ![]() However, in common use it refers to systems with only two channels. A stereo system can include any number of channels, such as the surround sound 5.1- and 6.1-channel systems used on high-end film and television productions. In technical usage, stereo or stereophony means sound recording and sound reproduction that uses stereographic projection to encode the relative positions of objects and events recorded. In popular usage, stereo usually means 2- channel sound recording and sound reproduction using data for more than one speaker simultaneously. The word "stereophonic" - derived from Greek stereos = "solid" and phōnē = "sound" - was coined by Western Electric, by analogy with the word " stereoscopic". It is often contrasted with monophonic (or "monaural", or just mono) sound, where audio is in the form of one channel, often centered in the sound field ( analogous to a visual field). Stereophonic sound, commonly called stereo, is the reproduction of sound, using two or more independent audio channels, through a symmetrical configuration of loudspeakers, in such a way as to create a pleasant and natural impression of sound heard from various directions, as in natural hearing.
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