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The most important tool for capturing ambisonic sound is specialized, multi-channel microphones. In this video, John Escobar, a professor in the Music Production and Engineering department for Berklee College of Music, discusses the microphone technology necessary to capture ambisonic sound. A first-order mic setup is comprised of four mics in a tetrahedral configuration, based on the pickup pattern and arrangement of the mic capsules. In higher order ambisonics, we can add more microphones. Even though these mics can pick up sound from 360 degrees around them, it’s important to know where the front mic is. Escobar discusses how the pros of ambisonics, such as wide angle capture, and how ambisonics give us a flexibility over traditional formats, and how we can apply them to various media, such as surround audio, virtual reality, background beds, binaural, stereo, and other forms of playback. Escobar also details the drawbacks of using ambisonics, such as larger file sizes, the necessity for specialized equipment, and conversions.
About John Escobar:
John Escobar is a producer, engineer, multi-instrumentalist, and educator, teaching several courses in the Music Production and Engineering department for Berklee College of Music. He has worked with a wide range of artists, including Grammy-winning folk artist Sarah Jarosz, jazz guitar virtuoso Larry Coryell, violinist Joshua Bell, and many others. He has also taught at Harvard, Boston University, University of Southern California, and Northeastern University.
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Music Production | Ambisonic Sound | Ambisonics | Surround Sound | 360-Degree Sound | Virtual Reality | Binaural | Stereo | Microphones | Mixing | Recording | Mastering | Microphones | John Escobar | Berklee | Berklee Online | Berklee College of Music