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In this video, John Escobar, a professor in the Music Production and Engineering department for Berklee College of Music, demonstrates how to set up and calibrate audio for recording ambisonics on video. You’ll want to make sure that all four channels coming out of your mic are going into a system that can be properly calibrated: Ideally, you’ll want the calibration to be within one tenth of a dB. You’ll also want to link all channels on your recorder, so with the turn of one gainstage knob, you can control the levels of all four channel preamps. It’s also important to measure the delay times between spot microphones and ambisonic sound sources. Additionally, be mindful of mic placement and the acoustic space you’re recording in. Setting up at Boston Symphony Hall, Escobar uses four ambisonic mics to truly capture the feel of the space. You’ll also want to make sure you’re able to monitor sound while capturing ambisonic recordings.
ABbout 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.
About Berklee Online:
Berklee Online is the continuing education division of Berklee College of Music, delivering online access to Berklee’s acclaimed curriculum from anywhere in the world, offering online courses, certificate programs, and degree programs. Contact an Academic Advisor today:
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Music Production | Ambisonic Sound | Ambisonics | Surround Sound | 360-Degree Sound | Microphones | Mixing | Recording | Mastering | Microphones | Digital Recording | Signal Calibration | Mic Placement | Monitoring | Documentation | Ambient Recording | John Escobar | Berklee | Berklee Online | Berklee College of Music