My recollection is that it is a tetrahedral array , capturing all three dimensions .Yes. As the quoted article explains, the Soundfield microphone itself is basically just a four channel microphone with remotely controllable patterns.
My recollection is that it is a tetrahedral array , capturing all three dimensions .Yes. As the quoted article explains, the Soundfield microphone itself is basically just a four channel microphone with remotely controllable patterns.
My recollection is that it is a tetrahedral array , capturing all three dimensions .
I can clearly recall reading that , and similar articles , in HFN/RR and Hi-Fi Sound back in the day .
At that time , I was a first year electronics student , wasting away my spare time working in a Hi-Fi shop ( later became my career ) and we had one of the Sennheisser records for demo purposes . I sold a lot of HD 414 and HD 424 headsets with that , and still have my own HD 424s which must now be almost 50 years old ( but they look new since you can still get the original yellow foam ear pads for them !
What was also reported at the time was that you could use a pair of HD 424s as microphones , simply by turning the capsules around on the headband and wearing them . This very simple method produced surprisingly good recordings .
I also remember , from the time , a BBC broadcast , which was recorded in binaural , about an RAF fighter pilot in a dogfight and being shot down , with the binaural sound of him bailing out , wind blowing around him , and the sounds of other aircraft flying nearby ; I may still have a recording of this on cassette ...
Coming back to Ambisonics , I well remember Peter Felgett , who I think developed the Calrec Soundfield mic and Ambisonic decoders ( only one I ever saw was the IMF one ) writing into the various magazines , as I recall he was very approachable and I corresponded with him a few times .
I much prefer listening to loudspeakers and after tiring of my 5.0 system with Sony TA-e1000ESD , SDP-EP9 ES and SQD-2020 decoders , I went back to 2 channel audio , which properly set up can sound very natural , and the acoustic doublet output of my Quad ESL 63s fill the room with very convincing imagery . Sometimes surround effects created acoustically can be more satisfying than those created electronically ; after all the performers tend to sit on a stage in front of the audience and the ambience is created by the room .
You were a couple of years ahead of me, my first year as an Electronics student was 1976!I can clearly recall reading that , and similar articles , in HFN/RR and Hi-Fi Sound back in the day .
At that time , I was a first year electronics student , wasting away my spare time working in a Hi-Fi shop ( later became my career ) and we had one of the Sennheisser records for demo purposes . I sold a lot of HD 414 and HD 424 headsets with that , and still have my own HD 424s which must now be almost 50 years old ( but they look new since you can still get the original yellow foam ear pads for them !
What was also reported at the time was that you could use a pair of HD 424s as microphones , simply by turning the capsules around on the headband and wearing them . This very simple method produced surprisingly good recordings .
I also remember , from the time , a BBC broadcast , which was recorded in binaural , about an RAF fighter pilot in a dogfight and being shot down , with the binaural sound of him bailing out , wind blowing around him , and the sounds of other aircraft flying nearby ; I may still have a recording of this on cassette ...
Coming back to Ambisonics , I well remember Peter Felgett , who I think developed the Calrec Soundfield mic and Ambisonic decoders ( only one I ever saw was the IMF one ) writing into the various magazines , as I recall he was very approachable and I corresponded with him a few times .
I much prefer listening to loudspeakers and after tiring of my 5.0 system with Sony TA-e1000ESD , SDP-EP9 ES and SQD-2020 decoders , I went back to 2 channel audio , which properly set up can sound very natural , and the acoustic doublet output of my Quad ESL 63s fill the room with very convincing imagery . Sometimes surround effects created acoustically can be more satisfying than those created electronically ; after all the performers tend to sit on a stage in front of the audience and the ambience is created by the room .
And I slotted in between the two of you, starting in 1975! Blimey, where did all those years go?You were a couple of years ahead of me, my first year as an Electronics student was 1976!
It's not quite that simple. Here's an excellent explanation (from SOS magazine 2001) of the concept of the Soundfield Microphone and its application in Ambisonic recording..
Surround Sound microphone techniques
So was mine , but my interest in Hi-Fi and working in the Hi-Fi shop predated that by a couple of yearsYou were a couple of years ahead of me, my first year as an Electronics student was 1976!
I'm 64 now , guess you guys are around the sameAnd I slotted in between the two of you, starting in 1975! Blimey, where did all those years go?
Since most of my records are 2ch stereo , my system is set up for that ( actually , I'm between homes right now ( staying in my late mother's home which is now sold ) and my good system is sitting in the dining room , packed up in its boxes , but I get into my new house on 19th April , so I look forward to getting set up again ) . However there is no way I could set up two sets of ESLs in my new room since one end of it will be my home office , although the listening area will be something like 12ft square , at least having the back end of it open into another area should avoid standing waves , I will still need to experiment with rugs on the laminate flooring and curtains at each end to dampen it down somewhat . More important matters will include creating a driveway down the side of the house , and building a garage out back , once my finances recover from buying the place !I’m with you on the ESL63s, of which I have 2 pairs in an ambisonic setup.
On the room effect, I suppose it depends a bit on whether you prefer your own listening room to fill in a sense of ambience or instead on the recording carrying the whole sound field and reproducing it accurately without much contribution from the listening room.
Yep I'm 64, graduated in 1979 scaryI'm 64 now , guess you guys are around the same
No I'm only 41 (well in hexadecimal anyway).I'm 64 now , guess you guys are around the same
Since most of my records are 2ch stereo , my system is set up for that ( actually , I'm between homes right now ( staying in my late mother's home which is now sold ) and my good system is sitting in the dining room , packed up in its boxes , but I get into my new house on 19th April , so I look forward to getting set up again ) . However there is no way I could set up two sets of ESLs in my new room since one end of it will be my home office , although the listening area will be something like 12ft square , at least having the back end of it open into another area should avoid standing waves , I will still need to experiment with rugs on the laminate flooring and curtains at each end to dampen it down somewhat . More important matters will include creating a driveway down the side of the house , and building a garage out back , once my finances recover from buying the place !
There lies the problem ; fewer people listen to FM radio these days and even fewer bother to put up decent aerials . Antiference only make up to 5 element aerials now , J-Beam or Jaybeam no longer exist , so I was hunting around . I found out about a company called Blake UK , who still make FM aerials , up to 6 element , although until recently they did have an 8 element one .
Thanks , I'd forgotten about Ron Smith .It hadn’t occurred to me that FM antennas were thin on the ground these days. It was big business at one time. Almost every HiFi mag back in the day seemed to carry an advert for Ron Smith’s aerials. Just out of interest I did a search and was amazed to see that they are still in business-
Ron Smith aerials
offering things like their monster Galaxie 23 (just £379!) -
View attachment 75761
Their stuff was always good, which is why I guess they've survived. Decades ago, whilst still living with my parents I had a Ron Smith aerial on a rotator-
FM array
Luckily I live well within the catchment area of the high power Wrotham (Kent) transmitter from which I get a very decent signal. So I still use one of the old Antiference 6 element arrays you mention, which even in the loft, is more than adequate for full quieting from my Sony and Denon FM tuners and, although theoretically far from ideal, actually also gives me error free DAB reception.
Good luck with your installation (and use the strongest brackets you can get your hands on!)
Yes , I fear a lot of the stations are not what they were , also a lot of the lower output stations are very compressed to keep their content above the noise floor ; I listen to a lot of them on the car radio as i travel around . It is also true that they are not so independent and many are syndicated , broadcasting exactly the same programmes much of the time .Pontoneer, you are in a similar predicament as I am. Several years ago I removed my high gain FM antenna to re-shingle my roof. Despite placing the antenna off to the side, where it should have been safe it suffered damage to a couple of elements. I had planed to repair it but by that time it had suffered even more damage. I started to search for a replacement, and found out that all the good ones had been discontinued! I don't remember how many elements my old antenna had, I think maybe 9. Over the years I've owned both an Archer (Radio Shack) and a similar Channel Master antenna, most other antenna manufactures had similar models as well. All are now discontinued! I guess that few people bother with distant FM reception any more! I could only find omni-directional antennas and a few 3 or 4 element designs.
That got me thinking about building one. There was a design in "Audio Amateur" years ago, I dug out the issue and started planning a possible build. I found a supplier in Winnipeg for the aluminum rods and boom material required. The Boom was too large to ship so I was thinking of making a trip to pick it up, then Covid hit. My project was again put on the back burner. If I buy or build one I still have to decide how to mount it, I don't really want it back on the roof. I once bracketed a large TV antenna to the chimney, a strong wind storm knocked the chimney down! Bricks and mortar look strong but really aren't. A small tower is another option but they are also getting hard to find. I guess that most people just listen to their local stations or perhaps stream off the internet. IMHO The stations themselves aren't what they used to be either., which helps fuel my procrastination.
I have a Magnum Dynalab 205 (FM Signal Sleuth) antenna amplifier that works very well in conjunction with a good outside antenna, and antenna rotor.
I haven't listened to those distant North Dakota stations in long while, and the Winnipeg and Manitoba stations only now while traveling in the car. There is a country station across the border in Warroad Minnesota that I used to find very amusing, they ran advertisements to come in get your gas, fishing tackle, bait and six pack of beer for your days fishing on the lake. Although necessary IMHO, the beer part would be more than frowned upon on this side of the boarder!
Besides my Quad 77FM , I still have my Sony ST-S730ES tuner , which is very sensitive , and my old Sony ST-88 which I have had since the 1970s
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