![]() ( Click here for an in-depth interview with David Chesky on his approach to binaural recording). The musicians in a Chesky binaural session usually don’t wear headphones while recording. David Chesky and I use Ultimate Ears in-ear monitors.” We do not bring speakers to the sessions but have many pairs of headphones to choose from. The backup system is the one we use for playback. “The backup system uses a Mytek A to D converter recorded to Logic. “The main recording chain is a Mytek Brooklyn A to D converter recording at 192kHz 24 bit through a SoundBlade interface to a hard drive,” Prout says. In the video, viewers will notice one shot of the room (around 2:05) that Chesky uses as the control room, where the feed from the dummy head is split between the main system and a backup system. The delay time is usually 120ms-240ms depending on the song.” The signal usually goes through a delay line which creates pre-delay. “So we set the extra microphone-a Beyer m160-to keep the singer’s position consistent, and then send a little of the voice to the PA which is how we add reverb. “When a singer gets close to the dummy head the sound is very dry,” explains Prout. Instead it goes to a PA system in the space, in pursuit of its own effect. Viewers will notice a microphone in front of the dummy head, but this mic is not part of the recording chain. You big dummy-Casey Abrams with his binaural microphone muse. Just use the code ROBOTSCOOP at checkout.) (To help promote interest in the format, the label is offering SonicScoop readers 25% off any release at HDtracks. We talked to Chesky engineer Nicholas Prout about the techniques that went into recording this single, which launches Friday, November 10th on iTunes, Spotify, Amazon, and HDtracks. In this world premiere video from Chesky Records, the time-honored practice of binaural recording-commonly accomplished by using a single two-eared “dummy head” microphone to capture a 3D sound field-is clearly demonstrated.Ĭentered around an inventively soulful performance by bassist and vocalist Casey Abrams, the song “Robot Lovers” is the lead single from his upcoming Chesky Records album debuting in Spring 2018. But there are other classic techniques available for creating immersive effects. There’s a plethora of plugins-more every day-that will help audio engineers to place ambisonic audio all over the place working in the box (ITB). Sennheiser offers the free plugin Ambeo Orbit, that facilitates the mixing of immersive binaural content during post-production.3D sound recording and mixing is seeing a fast expansion. The KU 100 is mounted to standard microphone stands at the top or the bottom side, with a 5/8"-27 female thread, plus thread adapters to connect to 1/2"- and 3/8" studs. Three powering options are available: P48 phantom power, internal battery, and external PSU (included). The KU 100 has a balanced XLR 5 stereo output and unbalanced BNC outputs. A second switch offers three low cut options, 150 Hz, 40 Hz, and linear. Thanks to its state-of-the-art transformerless circuitry, the KU 100 has very low self-noise and can handle high sound pressure levels of up to 135 dB without audible distortion and up to 145 dB with the –10 dB preattenuation switch activated. Immersive sound has never been easier: Simply place the KU 100 at the optimal listening position! Unlike older dummy head microphones, the KU 100 is compatible with loudspeaker playback, too, creating a stereo image similar to conventional microphones yet with a superior sense of space and depth. ![]() KU 100 recordings played back over high quality headphones thus give the listeners an experience almost identical to what they would have heard with their own ears at the recording position, with stunning lateral and vertical localization and a breathtaking sense of space and a room decay that surrounds the listener. ![]() Two omnidirectional condenser capsules are built into artificial ears mounted on an enclosure resembling a human head. The KU 100 dummy head is a binaural stereo microphone. ![]() Moreover, head related stereo recordings are truly immersive: While conventional stereo recordings are limited to left and right and, at best, a sense of depth behind those speakers, head related recordings create a three dimensional sonic image surrounding the listener. Dummy head recordings are a much more immediate experience, because they transfer the listener into the environment the acoustic event originally took place. The result is often dissatisfactory because the original room is put into a second room. Conventional recording techniques attempt to transfer an acoustic event into the listener’s environment. ![]()
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